1 00:00:01,720 --> 00:00:05,880 Speaker 1: R and B Money, Honey, we are. 2 00:00:07,440 --> 00:00:10,080 Speaker 2: Take volotized. 3 00:00:10,840 --> 00:00:13,480 Speaker 3: We are the authority. 4 00:00:15,440 --> 00:00:16,720 Speaker 4: And blades and gentleman. 5 00:00:16,760 --> 00:00:19,599 Speaker 5: My name is Tank and this is the arm and 6 00:00:19,640 --> 00:00:23,400 Speaker 5: by Money podcast, the authority on all things. 7 00:00:24,400 --> 00:00:24,959 Speaker 4: R and B. 8 00:00:26,040 --> 00:00:29,000 Speaker 2: Can't be humble today though we we are not. We're 9 00:00:29,000 --> 00:00:30,200 Speaker 2: gonna talk that ship today in. 10 00:00:30,160 --> 00:00:35,120 Speaker 5: A space where we can sit down and be humble. 11 00:00:35,720 --> 00:00:42,960 Speaker 5: Although I am seated. How you sound, too, is everything. 12 00:00:44,520 --> 00:00:50,040 Speaker 5: How you come across the airwaves to people's ears. The 13 00:00:50,159 --> 00:00:55,240 Speaker 5: sonic boom that happens when something is. 14 00:00:56,800 --> 00:00:57,680 Speaker 4: Mixed correctly. 15 00:00:57,960 --> 00:01:01,080 Speaker 1: Yes, uh up, it's gotta be. 16 00:01:01,080 --> 00:01:02,960 Speaker 4: In your DNA. Are my good brother? 17 00:01:04,840 --> 00:01:10,600 Speaker 5: There's a masterine component to being able to mix in 18 00:01:10,760 --> 00:01:17,959 Speaker 5: the box that takes things to another level, the Grammy 19 00:01:18,040 --> 00:01:19,120 Speaker 5: Award winning level. 20 00:01:20,720 --> 00:01:25,039 Speaker 6: Yes, this interest long, but this man designs it. He's 21 00:01:25,080 --> 00:01:33,160 Speaker 6: in updative records on records on records, the top artists. 22 00:01:33,319 --> 00:01:35,880 Speaker 4: In the universe. Great. 23 00:01:36,680 --> 00:01:40,479 Speaker 5: If you want to mixed, it's gotta be mixed by 24 00:01:40,520 --> 00:01:44,000 Speaker 5: Ali Derek, mixed by Ali. 25 00:01:46,560 --> 00:01:47,600 Speaker 4: Man. Come on, I love that. 26 00:01:49,400 --> 00:01:54,120 Speaker 5: It's going on my boys ship energy. I love it. 27 00:01:54,120 --> 00:01:58,960 Speaker 5: It's gotta sound right, my pet, Peeve, let me tell you. 28 00:01:59,000 --> 00:02:04,200 Speaker 5: We're gonna tell you a driver driving me because I 29 00:02:04,200 --> 00:02:06,400 Speaker 5: like to drive myself, so you know, when you're out 30 00:02:06,400 --> 00:02:08,959 Speaker 5: of town doing gigs and stuff like that, a driver 31 00:02:09,080 --> 00:02:14,560 Speaker 5: that doesn't know where he's going and an engineer that 32 00:02:14,960 --> 00:02:20,800 Speaker 5: doesn't know what he's doing, it's worse. I'm the nicest 33 00:02:20,800 --> 00:02:25,280 Speaker 5: guy you'll ever meet until I don't know. Those two 34 00:02:25,400 --> 00:02:33,600 Speaker 5: things burn my soul because in order for me to 35 00:02:33,680 --> 00:02:40,760 Speaker 5: be great, I have to get there. Also, in order 36 00:02:40,760 --> 00:02:46,040 Speaker 5: for me to be great, the first thing people do 37 00:02:47,760 --> 00:02:50,480 Speaker 5: is hear me. It's the first thing that happened, the 38 00:02:50,480 --> 00:02:53,160 Speaker 5: first impression. That's the first impressions. 39 00:02:53,200 --> 00:02:54,600 Speaker 4: Like when you meet somebody and you look at their 40 00:02:54,600 --> 00:02:57,360 Speaker 4: teeth for their nails first. You know, they told whatever 41 00:02:57,400 --> 00:03:03,519 Speaker 4: the case is, you know, we deal in sonic. Yeah 42 00:03:03,639 --> 00:03:06,880 Speaker 4: it is. I get it. I get the styling part 43 00:03:06,960 --> 00:03:09,640 Speaker 4: of it. I get the branding side of it. I 44 00:03:09,680 --> 00:03:13,680 Speaker 4: get all of these things. But it starts right here 45 00:03:15,240 --> 00:03:18,959 Speaker 4: when somebody says, what's that? Then they say, who's that? 46 00:03:19,639 --> 00:03:23,640 Speaker 4: Mm hmm. It's frequencies. You know, people don't realize how 47 00:03:24,240 --> 00:03:25,600 Speaker 4: much it connects people. 48 00:03:25,919 --> 00:03:35,880 Speaker 5: Absolutely, and and the importance of what you do an engineer, 49 00:03:36,200 --> 00:03:39,320 Speaker 5: like you know, we're gonna we're gonna get into the 50 00:03:40,600 --> 00:03:45,640 Speaker 5: beginnings and you know, really dive into how you have 51 00:03:45,760 --> 00:03:50,080 Speaker 5: created who you are, right. But at one point we 52 00:03:50,120 --> 00:03:53,600 Speaker 5: were having a conversation about where engineers some engineers are like, 53 00:03:54,440 --> 00:03:57,800 Speaker 5: I mean, I think that's worth some publishing. I think 54 00:03:57,840 --> 00:04:03,280 Speaker 5: that's worth some creative shares. I can tell you for 55 00:04:03,400 --> 00:04:07,800 Speaker 5: a fact absolutely, I don't know where I would be 56 00:04:08,720 --> 00:04:11,480 Speaker 5: without a few of the engineers that I've worked with 57 00:04:11,520 --> 00:04:13,120 Speaker 5: and the ones that I currently work with. 58 00:04:13,680 --> 00:04:15,120 Speaker 4: I mean, I said, all the time, you know a 59 00:04:15,120 --> 00:04:18,640 Speaker 4: good mix of a make or break a record? You know, 60 00:04:18,880 --> 00:04:21,919 Speaker 4: you know how many records I've gotten from other engineers 61 00:04:21,920 --> 00:04:24,120 Speaker 4: that are putting versions on them, right, and how they 62 00:04:24,160 --> 00:04:28,200 Speaker 4: sounded compared to the final product. You know, it's it's 63 00:04:28,200 --> 00:04:30,240 Speaker 4: one of the most important parts. I always say, it's 64 00:04:30,240 --> 00:04:32,359 Speaker 4: just trifecta of music creation. Right. You have the artist 65 00:04:32,360 --> 00:04:34,280 Speaker 4: sitting up top right, but to the bottom left is 66 00:04:34,320 --> 00:04:36,280 Speaker 4: the producer, the bottom right is the engineer. 67 00:04:36,360 --> 00:04:36,440 Speaker 3: Right. 68 00:04:36,480 --> 00:04:40,640 Speaker 4: And once that that trifecta is locked in to irreplaceable formula, 69 00:04:40,800 --> 00:04:42,920 Speaker 4: you don't want to disturb it. You don't want to 70 00:04:42,920 --> 00:04:43,280 Speaker 4: touch it. 71 00:04:44,000 --> 00:04:48,800 Speaker 5: I got O C D bad. So anytime there's like 72 00:04:49,000 --> 00:04:56,000 Speaker 5: a transition, you know, of engineering, I'm shaking. You know 73 00:04:56,040 --> 00:05:00,760 Speaker 5: what I mean, I'm breaking out in hives. You can 74 00:05:00,800 --> 00:05:05,760 Speaker 5: hear the little imperfection that's disturbing the formula. You know, 75 00:05:05,880 --> 00:05:08,919 Speaker 5: eventually we figure it out and get it rolling. But 76 00:05:09,520 --> 00:05:13,160 Speaker 5: the the and here's what it was, LA's crazy. I 77 00:05:13,160 --> 00:05:14,599 Speaker 5: want you to speak to this real quick before we 78 00:05:14,640 --> 00:05:19,440 Speaker 5: before we dive all the way in kids now that 79 00:05:19,520 --> 00:05:22,960 Speaker 5: are producing, Like I'm just talking about getting a pack 80 00:05:23,000 --> 00:05:25,839 Speaker 5: from producers, whether it be like a cardiac or a 81 00:05:25,880 --> 00:05:30,880 Speaker 5: business spoiler or whatever. These guys these packs sound race 82 00:05:31,839 --> 00:05:35,880 Speaker 5: like they've been listening to what you guys are doing 83 00:05:37,279 --> 00:05:42,520 Speaker 5: and applying it at the house before they even send 84 00:05:42,600 --> 00:05:46,239 Speaker 5: you a track. And I'm like, why does your track 85 00:05:46,520 --> 00:05:50,440 Speaker 5: sound like this? Like that information? Like, how do you 86 00:05:50,520 --> 00:05:55,320 Speaker 5: feel as as someone who like this is your this 87 00:05:55,440 --> 00:05:57,440 Speaker 5: is your this is your business, this is your well 88 00:05:57,480 --> 00:05:59,040 Speaker 5: not your bread and butter, because we're going to get 89 00:05:59,040 --> 00:06:03,240 Speaker 5: into that you do so many other things. But the 90 00:06:03,279 --> 00:06:07,320 Speaker 5: importance of sharing that information because back in the day, 91 00:06:07,960 --> 00:06:10,719 Speaker 5: you weren't getting that information. Yeah, you weren't getting that 92 00:06:10,800 --> 00:06:12,840 Speaker 5: drum pack from an engine that you have to know 93 00:06:12,960 --> 00:06:14,640 Speaker 5: somebody that you kind of think I can get those 94 00:06:14,640 --> 00:06:15,560 Speaker 5: mixed drums from you. 95 00:06:15,680 --> 00:06:18,360 Speaker 4: Like it's different. I think it's time. You know, I 96 00:06:18,400 --> 00:06:21,279 Speaker 4: think during those times, right, you know, the Internet, social media, right, 97 00:06:21,360 --> 00:06:26,080 Speaker 4: these these platforms weren't readily available or accessible, you know. 98 00:06:26,160 --> 00:06:28,760 Speaker 4: So I think I think with the times and the 99 00:06:28,800 --> 00:06:30,599 Speaker 4: fact that a lot of these creators just don't have 100 00:06:30,680 --> 00:06:33,400 Speaker 4: access to those resources to go to the music schools 101 00:06:33,520 --> 00:06:35,160 Speaker 4: or to have all the money to get all the 102 00:06:35,160 --> 00:06:38,000 Speaker 4: equipment right their online figuring it out, right, these kids 103 00:06:38,000 --> 00:06:41,560 Speaker 4: are pulling things, they're re sampling their you know, learning 104 00:06:41,600 --> 00:06:44,400 Speaker 4: how to mix master and produce right, because you know, 105 00:06:44,480 --> 00:06:47,840 Speaker 4: it's it's out of necessity, right, and and ultimately that 106 00:06:47,839 --> 00:06:50,479 Speaker 4: that's what makes these young kids masters early on, they've 107 00:06:50,520 --> 00:06:54,240 Speaker 4: gotten their ten thousand hours before they even hit mainstream, right, 108 00:06:54,279 --> 00:06:56,200 Speaker 4: And that's you know, it's what's interesting to kind of 109 00:06:56,240 --> 00:06:58,680 Speaker 4: watch is you know, all these you know, quote unquote 110 00:06:58,680 --> 00:07:02,760 Speaker 4: bedroom producers or creators that are getting you know, individuals 111 00:07:02,760 --> 00:07:06,200 Speaker 4: that I hire like myself, right, getting reinspired by looking 112 00:07:06,200 --> 00:07:09,159 Speaker 4: at how they're doing things right, because it's it's that's 113 00:07:09,200 --> 00:07:10,880 Speaker 4: the future, right, It's it's it's it's a it's a 114 00:07:10,920 --> 00:07:13,640 Speaker 4: means to stay relevant as well for someone like myself, right. 115 00:07:13,720 --> 00:07:17,760 Speaker 4: So it's it's it's incredible aspiring to watch man and 116 00:07:17,800 --> 00:07:21,840 Speaker 4: you know. Yeah, as I'm watching Billie Eilish and her brother, 117 00:07:22,120 --> 00:07:25,160 Speaker 4: there's innovative ways to create a room. There is no boundary, right, 118 00:07:25,200 --> 00:07:27,040 Speaker 4: there is no for there is no right or wrong 119 00:07:27,120 --> 00:07:31,000 Speaker 4: to creating music, you know, you know, and I think 120 00:07:31,080 --> 00:07:34,400 Speaker 4: now more than ever, you know, the genre lines are 121 00:07:34,480 --> 00:07:37,280 Speaker 4: being blurred with what sounds like what? And I think 122 00:07:37,320 --> 00:07:41,000 Speaker 4: that's just introducing more creativity. You know. You got albums 123 00:07:41,040 --> 00:07:44,080 Speaker 4: like this Tyler project that just came out, you know, 124 00:07:44,120 --> 00:07:46,000 Speaker 4: and all these incredible artists that are just you know, 125 00:07:46,280 --> 00:07:50,200 Speaker 4: again creating sonic masterpieces. It's a product of just eliminating 126 00:07:50,240 --> 00:07:51,400 Speaker 4: those borders. 127 00:07:51,080 --> 00:07:54,280 Speaker 2: Right, And like you said earlier, from necessity not a necessity. 128 00:07:54,320 --> 00:07:57,160 Speaker 1: Like I knew. I knew that the business was changing. 129 00:07:59,080 --> 00:08:02,760 Speaker 2: When I first heard sold Boy, yeah Frank that and 130 00:08:02,920 --> 00:08:05,680 Speaker 2: found out that he produced the record, And did you 131 00:08:05,680 --> 00:08:07,720 Speaker 2: know what I'm saying, Like this whole viral on socials 132 00:08:07,760 --> 00:08:10,120 Speaker 2: with the youth following. Yeah, and I was like, Oh, 133 00:08:11,000 --> 00:08:15,679 Speaker 2: it's about to be a full shift because this same 134 00:08:15,800 --> 00:08:19,600 Speaker 2: record is the same record that's here, the same record 135 00:08:19,600 --> 00:08:22,400 Speaker 2: he started with, is the same record that's at the 136 00:08:22,400 --> 00:08:25,960 Speaker 2: top of the charts weeks. He's got the dance and 137 00:08:25,960 --> 00:08:30,960 Speaker 2: got the whole thing going on, and he did it. 138 00:08:30,360 --> 00:08:33,360 Speaker 4: As you said in his room. Yeah, and it's more 139 00:08:33,400 --> 00:08:33,600 Speaker 4: of that. 140 00:08:33,679 --> 00:08:33,800 Speaker 6: Man. 141 00:08:33,800 --> 00:08:35,760 Speaker 4: It's like over the years since Soldier Boy, right, it's 142 00:08:35,800 --> 00:08:38,400 Speaker 4: countless artists that have taken off you know, the whole 143 00:08:38,440 --> 00:08:39,760 Speaker 4: quote unquote SoundCloud era. 144 00:08:39,920 --> 00:08:47,280 Speaker 1: Right, Soldier Boy first. Yeah, we know you did it first. 145 00:08:47,760 --> 00:08:49,320 Speaker 1: Fact first. 146 00:08:52,559 --> 00:08:55,480 Speaker 4: That's just a testament to just man, just evolving times, 147 00:08:55,480 --> 00:08:59,240 Speaker 4: evolving times of technology, music, you know, creativity again, just 148 00:08:59,280 --> 00:09:02,520 Speaker 4: these boundaries being eliminated now that these tools and platforms 149 00:09:02,559 --> 00:09:05,640 Speaker 4: are now available. So it's it's like it's like it's 150 00:09:05,640 --> 00:09:08,280 Speaker 4: going to continue to expand even faster, right as we 151 00:09:08,360 --> 00:09:10,880 Speaker 4: as we as we as we you know, go forward 152 00:09:10,880 --> 00:09:13,520 Speaker 4: in the music journey, you know, I must. I'm gonna 153 00:09:13,520 --> 00:09:15,280 Speaker 4: start off asking you a question I asked my good 154 00:09:15,320 --> 00:09:21,280 Speaker 4: brother Jason Joshua. Yes, yeah, because I've been knowing Jason 155 00:09:21,400 --> 00:09:27,040 Speaker 4: Joshua since he was you know, way back then, absolutely 156 00:09:27,240 --> 00:09:32,440 Speaker 4: not an engineer, nothing close. And I said, when. 157 00:09:33,720 --> 00:09:39,480 Speaker 5: Did your ears tell you I hear this thing just 158 00:09:39,600 --> 00:09:42,600 Speaker 5: a little differently from everybody else. 159 00:09:43,440 --> 00:09:52,800 Speaker 4: When was that for you? Man? I think honestly it 160 00:09:52,920 --> 00:09:57,600 Speaker 4: was the kendrickmar the Section eighty project. We're gonna start there. Yeah, 161 00:09:57,640 --> 00:10:01,199 Speaker 4: I think that that's just just because again, if you 162 00:10:01,240 --> 00:10:02,840 Speaker 4: think about it, right, I'm a kid that has no 163 00:10:03,000 --> 00:10:05,439 Speaker 4: formal training in audio engineering, right, and I don't even 164 00:10:05,440 --> 00:10:07,160 Speaker 4: know what the fuck pro tools is at the time. Right, 165 00:10:07,160 --> 00:10:11,120 Speaker 4: I'm putting, I'm clicking buttons, I'm throwing plugins here, seeing 166 00:10:11,120 --> 00:10:14,720 Speaker 4: what works, right. But you know, I think at that point, throughout, 167 00:10:14,800 --> 00:10:17,440 Speaker 4: you know, working on that project, right and and developing 168 00:10:17,480 --> 00:10:20,400 Speaker 4: the sound with Kindred that kind of had this. If 169 00:10:20,400 --> 00:10:21,880 Speaker 4: you listen to anything that came out during that time, 170 00:10:21,880 --> 00:10:26,160 Speaker 4: there was nothing that sonically matched that, right. And it 171 00:10:26,240 --> 00:10:28,880 Speaker 4: was when I realized that you could do that right, 172 00:10:28,960 --> 00:10:31,200 Speaker 4: the ADHD in me was like, yo, like you can 173 00:10:31,280 --> 00:10:34,319 Speaker 4: take sounds and make them sound like this, or make 174 00:10:34,360 --> 00:10:36,199 Speaker 4: them do this, and make them fly behind your ear 175 00:10:36,280 --> 00:10:38,120 Speaker 4: and make them sound like two or three different people 176 00:10:38,120 --> 00:10:40,520 Speaker 4: are talking and people are gonna like that. And it 177 00:10:40,559 --> 00:10:42,040 Speaker 4: was like, oh, there's no rules to the ship, like, 178 00:10:42,160 --> 00:10:44,200 Speaker 4: you know. That's I think what pulled me in most 179 00:10:44,360 --> 00:10:47,080 Speaker 4: was the fact that I could do what I wanted 180 00:10:47,120 --> 00:10:49,920 Speaker 4: sonically right as long as you can experience the mix. 181 00:10:50,880 --> 00:10:53,000 Speaker 4: That's what really dragged me into it, you know. 182 00:10:53,840 --> 00:10:57,120 Speaker 5: And and when you say you had no formal training, like, 183 00:10:58,679 --> 00:11:01,160 Speaker 5: how do you like what is what is point a? 184 00:11:01,360 --> 00:11:03,800 Speaker 4: Like? What's the starting man? The hustle man, you know 185 00:11:04,160 --> 00:11:07,520 Speaker 4: from Guardian in California, you know all through high school 186 00:11:07,559 --> 00:11:10,120 Speaker 4: played football, but always, you know, always, you know, having 187 00:11:10,160 --> 00:11:11,520 Speaker 4: a few dollars so I can get a fresh white 188 00:11:11,520 --> 00:11:15,120 Speaker 4: tea every morning, you know. And my hustle then was ringtones, 189 00:11:15,240 --> 00:11:17,920 Speaker 4: you know, before the old I tell the story often, 190 00:11:17,960 --> 00:11:21,520 Speaker 4: but it's before those. You know, you could really buy 191 00:11:21,600 --> 00:11:23,319 Speaker 4: ring tones online, right, you know when people you know, 192 00:11:23,360 --> 00:11:27,040 Speaker 4: the Soldier boy days just so fine, uh my boy 193 00:11:27,040 --> 00:11:29,280 Speaker 4: did it first again? So yeah, man, how I got started? 194 00:11:29,320 --> 00:11:29,440 Speaker 3: Man? 195 00:11:29,480 --> 00:11:33,320 Speaker 4: It was you know what just kind of had me 196 00:11:33,400 --> 00:11:36,319 Speaker 4: fall into love of the arts of recording. I started 197 00:11:36,320 --> 00:11:38,640 Speaker 4: making ringtones, so you know, and how. 198 00:11:38,520 --> 00:11:41,160 Speaker 5: Did you how did you like, give me, give me equipment, 199 00:11:41,280 --> 00:11:42,880 Speaker 5: give me like how you did this? 200 00:11:43,200 --> 00:11:46,560 Speaker 4: Man? The equipment was just a cracked version of cool 201 00:11:46,679 --> 00:11:48,800 Speaker 4: Edit Pro. I don't know if anybody remembers the old 202 00:11:48,800 --> 00:11:52,559 Speaker 4: school dog cool Edit pro, you know, a headphone microphone 203 00:11:53,559 --> 00:11:55,120 Speaker 4: And I was it, man. I you know, I've been 204 00:11:55,200 --> 00:11:57,559 Speaker 4: computer literate, and you know I had laptops as a kid. 205 00:11:57,600 --> 00:11:59,599 Speaker 4: My uncle you know, give me them for you know, 206 00:11:59,640 --> 00:12:02,920 Speaker 4: the Chris Us whatever but I found software that allowed 207 00:12:02,920 --> 00:12:06,200 Speaker 4: me to crack the old next telephones and put ring 208 00:12:06,280 --> 00:12:09,559 Speaker 4: tones on there without those beeping ringtones. So back then, 209 00:12:09,600 --> 00:12:12,280 Speaker 4: when there was just those mono beeping you know, ringtones, 210 00:12:12,760 --> 00:12:14,960 Speaker 4: I would have friends come over and we would record 211 00:12:15,000 --> 00:12:18,000 Speaker 4: these thirty second snippets that I would turn into their ringtone. 212 00:12:18,280 --> 00:12:20,120 Speaker 4: Will be the only ones in the school that had them, right, 213 00:12:20,160 --> 00:12:22,040 Speaker 4: And you know, I was making hundreds a week. It 214 00:12:22,080 --> 00:12:25,840 Speaker 4: was lit like it was twenty bucks rington but they 215 00:12:25,880 --> 00:12:27,880 Speaker 4: came up. I lived right across the streets in my school. 216 00:12:28,280 --> 00:12:30,480 Speaker 4: Twenty dollars a ringtone, right, But there was the whole experience. 217 00:12:30,520 --> 00:12:32,640 Speaker 4: You know what I'm saying, You come record. Nah, you 218 00:12:32,679 --> 00:12:34,679 Speaker 4: know what I'm saying, You come through My Grandma will 219 00:12:34,720 --> 00:12:41,480 Speaker 4: serve you with some you know sweets like come on, 220 00:12:41,640 --> 00:12:43,280 Speaker 4: like no better experience. You know what I'm saying. 221 00:12:43,360 --> 00:12:44,640 Speaker 1: You already had this studio. 222 00:12:46,760 --> 00:12:48,760 Speaker 4: It was the concierge, you know, saying, yeah, make sure 223 00:12:49,160 --> 00:12:52,080 Speaker 4: I'm a people pleaser. Yeah you know, so yeah, you 224 00:12:52,160 --> 00:12:53,800 Speaker 4: just you know, getting dated. I would have to makeshift 225 00:12:53,800 --> 00:12:55,960 Speaker 4: curtains up in my closet. Again, I had the headphone 226 00:12:56,000 --> 00:12:58,640 Speaker 4: microphone and you know cliche, you know, don't ask this 227 00:12:58,720 --> 00:13:00,760 Speaker 4: girl's phone, you know, just right, the shit niggas woul 228 00:13:00,760 --> 00:13:03,280 Speaker 4: do when they sixteen seventeen years old, you know, Miles 229 00:13:03,280 --> 00:13:05,080 Speaker 4: call and pick up the phone like whatever it was. 230 00:13:05,120 --> 00:13:08,000 Speaker 4: And you know, uh, you know as like just you know, 231 00:13:08,200 --> 00:13:10,040 Speaker 4: I'm playing football during this time as well, but you 232 00:13:10,080 --> 00:13:12,200 Speaker 4: know I'm making some you know for kid in high school. 233 00:13:12,200 --> 00:13:15,760 Speaker 4: I'm making some dollars. Yeah, And at that point I realized, yes, 234 00:13:15,800 --> 00:13:17,320 Speaker 4: this could you know, this could be a business. You 235 00:13:17,360 --> 00:13:19,599 Speaker 4: know earlier, you know, I've always just been fascinated with 236 00:13:19,760 --> 00:13:24,120 Speaker 4: just you know, building things myself, whether it's computers, remotecial cars, businesses, 237 00:13:24,200 --> 00:13:26,600 Speaker 4: you know, figure out ways to start something and watch 238 00:13:26,640 --> 00:13:29,880 Speaker 4: it kind of grow. And I realized, hey, you know 239 00:13:29,960 --> 00:13:31,920 Speaker 4: this this thing is cool, right, And I started researching 240 00:13:31,920 --> 00:13:33,800 Speaker 4: more about like what am I doing right now? Right? Yeah? 241 00:13:34,280 --> 00:13:37,280 Speaker 4: And again didn't know about the LA recording schools or 242 00:13:37,280 --> 00:13:40,079 Speaker 4: didn't know about the essays, and when I found out 243 00:13:40,080 --> 00:13:41,840 Speaker 4: about them, I couldn't afford the shit, you know, one 244 00:13:41,920 --> 00:13:44,439 Speaker 4: hundred and fifty grand you know, to go learn how 245 00:13:44,440 --> 00:13:46,400 Speaker 4: to you know, record, and you know, I was like, 246 00:13:46,440 --> 00:13:49,400 Speaker 4: you know, I can't do that. Ship. So naturally went 247 00:13:49,480 --> 00:13:51,439 Speaker 4: up to you know, some blogs, you know, future producers 248 00:13:51,480 --> 00:13:54,440 Speaker 4: dot com and gear sluts and these other places, and 249 00:13:54,559 --> 00:13:57,120 Speaker 4: you know, I would you know, kind of learn from there, 250 00:13:57,320 --> 00:13:59,640 Speaker 4: learn through other people's you know, failures or questions that 251 00:13:59,679 --> 00:14:02,040 Speaker 4: they have. If I would reverse engineer the question to 252 00:14:02,120 --> 00:14:03,840 Speaker 4: kind of see what they did, and you know, go 253 00:14:03,880 --> 00:14:07,400 Speaker 4: back and try myself. So again from the Ringtones got 254 00:14:07,480 --> 00:14:09,840 Speaker 4: better equipment. You know, actually I was you know, I 255 00:14:09,880 --> 00:14:12,480 Speaker 4: was robbing off Craigslist so I can get the interfaces. Yeah, 256 00:14:12,520 --> 00:14:13,760 Speaker 4: you know what I'm saying. I didn't have you know, 257 00:14:13,800 --> 00:14:17,720 Speaker 4: I have nothing. And then you know, finally when I 258 00:14:17,720 --> 00:14:19,760 Speaker 4: had this setup, you know, I you know, I had 259 00:14:19,760 --> 00:14:22,400 Speaker 4: pro tools. Now you know, I got a proper microphone, 260 00:14:22,440 --> 00:14:25,960 Speaker 4: a proper interface, and you know that's when I wanted 261 00:14:25,960 --> 00:14:27,760 Speaker 4: to say, this is something I loved. It was a passion. 262 00:14:28,280 --> 00:14:30,560 Speaker 4: It was something that can sit me down for ten 263 00:14:30,600 --> 00:14:33,600 Speaker 4: hours a day. Yeah. You know your kid with ADHD, Right, 264 00:14:33,640 --> 00:14:35,320 Speaker 4: you know, I'm off the walls and I'm sitting here 265 00:14:35,320 --> 00:14:38,080 Speaker 4: shaping a snare, right, trying to chop up vocals for 266 00:14:38,120 --> 00:14:41,200 Speaker 4: ten hours. Right, This is incredible. Yeah, yeah, And that 267 00:14:41,480 --> 00:14:42,400 Speaker 4: essentially was the journey. 268 00:14:42,640 --> 00:14:46,800 Speaker 1: So were you more so toward music production at this side? Though? 269 00:14:46,800 --> 00:14:49,480 Speaker 2: Because that's because like you said, you're making the ring 270 00:14:49,560 --> 00:14:51,160 Speaker 2: tone right, and you're doing that with your guys, but 271 00:14:51,720 --> 00:14:54,760 Speaker 2: I don't, I don't know. I'm asking were you even 272 00:14:54,760 --> 00:14:57,960 Speaker 2: thinking about the mix and how it the sonics of it? 273 00:14:58,000 --> 00:14:59,440 Speaker 1: Are you just like no, this just feels good. 274 00:14:59,520 --> 00:15:02,760 Speaker 4: No good. I would find instrumentals like on LimeWire. You know, 275 00:15:03,040 --> 00:15:05,360 Speaker 4: people will come freestyle, right, the homies will come after 276 00:15:05,400 --> 00:15:09,000 Speaker 4: football practice freestyle. You know, I would add the reverb 277 00:15:09,080 --> 00:15:12,200 Speaker 4: on there in the room went crazy like you know, 278 00:15:12,040 --> 00:15:22,000 Speaker 4: you know, but yeah, man, that you know, And from 279 00:15:22,040 --> 00:15:24,360 Speaker 4: there it's always just on this quest for more right 280 00:15:24,440 --> 00:15:27,600 Speaker 4: and more information, more knowledge. Uh. You know. I reached 281 00:15:27,600 --> 00:15:30,880 Speaker 4: out to Punch, you know, TD Punch and Dave Free. 282 00:15:30,920 --> 00:15:32,880 Speaker 4: I reached out to both of them on on my Space. 283 00:15:32,960 --> 00:15:34,400 Speaker 4: You know, Dave went to my high school. He went 284 00:15:34,400 --> 00:15:36,600 Speaker 4: to Guardian and High with me. And then you know, 285 00:15:36,600 --> 00:15:39,000 Speaker 4: I always knew about TD and you know what, you know, 286 00:15:39,040 --> 00:15:42,560 Speaker 4: the guys are doing Jay Rock and everybody and I 287 00:15:42,600 --> 00:15:44,280 Speaker 4: hate Punch was like, yo, like you know, I'm not 288 00:15:44,440 --> 00:15:47,200 Speaker 4: looking for anything but just information knowledge, Like how can 289 00:15:47,200 --> 00:15:50,280 Speaker 4: I like work with you guys, how can I you know, uh, 290 00:15:50,520 --> 00:15:53,240 Speaker 4: you know, just add value to you know, what's going on, 291 00:15:53,320 --> 00:15:55,760 Speaker 4: you know, I want to be an audio engineer, and 292 00:15:55,840 --> 00:15:57,480 Speaker 4: you know, Punch told me to come by, you know, 293 00:15:57,520 --> 00:15:59,640 Speaker 4: and from there I kind of just you know, just stay. 294 00:16:00,280 --> 00:16:01,640 Speaker 4: That was like the step child that you know, that 295 00:16:01,720 --> 00:16:04,440 Speaker 4: never that that that you know, just came and never left. 296 00:16:04,720 --> 00:16:07,240 Speaker 4: And that was what two thousand and six, two thousand 297 00:16:07,240 --> 00:16:10,200 Speaker 4: and seven, And you come in as an engineer. I 298 00:16:10,280 --> 00:16:12,920 Speaker 4: come and as honestly somebody who wanted to do anything. 299 00:16:12,920 --> 00:16:13,080 Speaker 5: You know. 300 00:16:13,360 --> 00:16:15,360 Speaker 4: Yeah, I didn't even understand the role of an engineer 301 00:16:15,400 --> 00:16:15,800 Speaker 4: at the time. 302 00:16:15,840 --> 00:16:17,600 Speaker 1: You know, I know, you're still in high school. 303 00:16:17,640 --> 00:16:19,960 Speaker 4: I'm still I got kicked on my grandma's house. I'm 304 00:16:19,960 --> 00:16:21,920 Speaker 4: still I'm like graduating. It's like towards the end of 305 00:16:21,960 --> 00:16:25,120 Speaker 4: the year two thousand and seven, and you know, I've 306 00:16:25,120 --> 00:16:26,640 Speaker 4: met the guys, and you know, I met Top and 307 00:16:26,680 --> 00:16:30,160 Speaker 4: everybody early on, but you know, around two thousand and seven, 308 00:16:30,160 --> 00:16:32,200 Speaker 4: once I graduated, that's when you know, I moved in 309 00:16:32,240 --> 00:16:34,120 Speaker 4: the tops crib. You know, we're all like sleeping on 310 00:16:34,120 --> 00:16:36,960 Speaker 4: the floor head to toe, you know, just recording all day. 311 00:16:37,000 --> 00:16:39,720 Speaker 4: And that's you know when I'm like, okay, like I 312 00:16:39,720 --> 00:16:43,560 Speaker 4: guess a group of guys right that, you know, are 313 00:16:43,600 --> 00:16:45,760 Speaker 4: trying to become the best, and we weren't even really 314 00:16:45,800 --> 00:16:47,320 Speaker 4: focused on trying to be the best, right, it was 315 00:16:47,400 --> 00:16:49,800 Speaker 4: just something to do that was keeping us out the streets, 316 00:16:50,200 --> 00:16:52,600 Speaker 4: you know, just having a place, you know, at the studio, 317 00:16:52,800 --> 00:16:55,240 Speaker 4: to be able to get away from all the problems 318 00:16:55,240 --> 00:16:57,480 Speaker 4: that we might deal with on a daily basis, to 319 00:16:57,480 --> 00:17:01,120 Speaker 4: just create right, without boundaries and without instruction right. And 320 00:17:02,280 --> 00:17:04,439 Speaker 4: ultimately what that did was, you know, everyone is now 321 00:17:04,480 --> 00:17:06,439 Speaker 4: sharpening this wars. You know, you got absolutely, you got 322 00:17:06,520 --> 00:17:08,919 Speaker 4: j Rock, you got Kadot. At the time, it's Kadot 323 00:17:10,280 --> 00:17:12,000 Speaker 4: and and me. Now right, you know, at the time 324 00:17:12,040 --> 00:17:14,359 Speaker 4: Punch was recording. But now when I came in, he 325 00:17:14,440 --> 00:17:17,560 Speaker 4: put me in that seat and punineer. Punch was the 326 00:17:17,560 --> 00:17:19,399 Speaker 4: full time engineer at the time in early days. He 327 00:17:19,520 --> 00:17:22,440 Speaker 4: was yeah, yeah, you know, now it's like the engineer here, 328 00:17:22,600 --> 00:17:24,520 Speaker 4: you know, another piece of the puzzle that now I 329 00:17:24,520 --> 00:17:27,199 Speaker 4: can step off and focus on, you know, on the 330 00:17:27,240 --> 00:17:30,439 Speaker 4: overarching goals. And that just gave me an opportunity to 331 00:17:30,440 --> 00:17:32,840 Speaker 4: now just sharpen usquare. Now I got three incredible artists 332 00:17:32,880 --> 00:17:35,480 Speaker 4: that you know, I'm sitting with for hours and days 333 00:17:35,480 --> 00:17:37,600 Speaker 4: and hours and days and nights, and you know, we 334 00:17:37,600 --> 00:17:38,960 Speaker 4: got our ten thousand hours. 335 00:17:39,359 --> 00:17:43,080 Speaker 5: It's it's then, what was that transition like? Because it's like, 336 00:17:43,760 --> 00:17:46,760 Speaker 5: you know, if Punch is like at that time, the 337 00:17:46,800 --> 00:17:52,200 Speaker 5: full time engineer, there are you know, there are nuanced 338 00:17:52,320 --> 00:17:53,560 Speaker 5: things that. 339 00:17:53,480 --> 00:17:55,639 Speaker 1: They're used to him, they're used to engineering. 340 00:17:55,680 --> 00:17:59,440 Speaker 5: Now, what what was that transition that that you know, Okay, 341 00:17:59,480 --> 00:18:01,840 Speaker 5: now you're in this seat, these are the things that 342 00:18:01,960 --> 00:18:05,280 Speaker 5: need to happen. Or were you always sitting in and 343 00:18:05,320 --> 00:18:08,080 Speaker 5: taking those notes so that by the time you got 344 00:18:08,080 --> 00:18:10,560 Speaker 5: to that chair you were you were more than ready. 345 00:18:10,640 --> 00:18:13,200 Speaker 4: Yeah. Now, I've always been the observer type where you know, 346 00:18:13,200 --> 00:18:14,680 Speaker 4: I'm gonna look be the fly on the wall, see 347 00:18:14,680 --> 00:18:16,960 Speaker 4: where I could fit in? Right? What hole can I feel? 348 00:18:17,000 --> 00:18:17,119 Speaker 3: Right? 349 00:18:17,160 --> 00:18:19,159 Speaker 4: And you know, Punch already had a formula for how 350 00:18:19,200 --> 00:18:21,280 Speaker 4: they were tracking and recording, but I don't even think 351 00:18:21,320 --> 00:18:22,960 Speaker 4: it was that far along to where the signings even 352 00:18:23,040 --> 00:18:25,879 Speaker 4: were like a main you know, focal point right as 353 00:18:25,880 --> 00:18:27,639 Speaker 4: long as we can hear the vocals were over, the 354 00:18:27,720 --> 00:18:31,399 Speaker 4: two track beat were fantastic, right, you know, But it 355 00:18:31,520 --> 00:18:34,240 Speaker 4: was just watching how to really again. You know, I'm 356 00:18:34,280 --> 00:18:37,240 Speaker 4: still very very very early on pro tools, and you know, 357 00:18:37,320 --> 00:18:39,640 Speaker 4: topping them had the old tool bar, the old tool 358 00:18:39,680 --> 00:18:42,480 Speaker 4: console had monitors, like in my eyes, had a real 359 00:18:42,520 --> 00:18:44,960 Speaker 4: professional setup, you know, and you know, so they walked 360 00:18:45,000 --> 00:18:47,000 Speaker 4: me through just what it was, what was the process, 361 00:18:47,040 --> 00:18:49,439 Speaker 4: what was the flow. And I think over time and 362 00:18:49,560 --> 00:18:52,560 Speaker 4: hours and hours and days of working with all the 363 00:18:52,640 --> 00:18:55,640 Speaker 4: artists individually, you you kind of understand everyone's individual flow. 364 00:18:56,119 --> 00:18:59,720 Speaker 4: You know, how everyone's recording speed is right, Like you said, 365 00:18:59,760 --> 00:19:01,600 Speaker 4: work with engineers, they got to be on it right 366 00:19:01,640 --> 00:19:03,919 Speaker 4: and if not a function your energy off. You know, 367 00:19:03,960 --> 00:19:06,080 Speaker 4: you got to imagine, you know, working with three different artists. 368 00:19:06,119 --> 00:19:08,879 Speaker 4: This is before school Boy Q came in, you know, 369 00:19:08,960 --> 00:19:11,960 Speaker 4: working with these three artists. Everyone you know, came in 370 00:19:11,960 --> 00:19:14,440 Speaker 4: at different times, at different styles, you know, obviously different 371 00:19:14,520 --> 00:19:16,800 Speaker 4: vocal tones where you have to on the fly like 372 00:19:16,880 --> 00:19:20,680 Speaker 4: make sure everything was coming in. So yeah, man, it's 373 00:19:20,480 --> 00:19:20,880 Speaker 4: just just. 374 00:19:21,119 --> 00:19:26,360 Speaker 2: Yeah and y'all recording all day and all night. Especially 375 00:19:26,359 --> 00:19:28,400 Speaker 2: for you being the one engineer. 376 00:19:27,960 --> 00:19:29,480 Speaker 4: It's like what else we're gonna do, Like we're all, 377 00:19:29,480 --> 00:19:31,159 Speaker 4: like you fresh out of high school, like you know, 378 00:19:31,280 --> 00:19:34,080 Speaker 4: it's you know, besides the turn ups on the weekends 379 00:19:34,160 --> 00:19:36,040 Speaker 4: or whatever, like you know, but even that, it's like 380 00:19:36,080 --> 00:19:38,720 Speaker 4: everyone's meeting point and focal point was to get back 381 00:19:38,760 --> 00:19:40,960 Speaker 4: to the studio. You know when you young tho, that's 382 00:19:42,480 --> 00:19:44,280 Speaker 4: I've been there, you know what I'm saying, and you 383 00:19:44,520 --> 00:19:44,840 Speaker 4: in it. 384 00:19:46,680 --> 00:19:49,520 Speaker 5: What what else are we gonna do? 385 00:19:49,560 --> 00:19:51,120 Speaker 4: You know what I'm saying. Like it's and I think 386 00:19:51,160 --> 00:19:53,480 Speaker 4: that's also a luxury of it, right, just again having 387 00:19:53,480 --> 00:19:55,760 Speaker 4: the space and having time. I don't think people areized 388 00:19:55,880 --> 00:19:58,919 Speaker 4: just you know, a big part of the formula, just 389 00:19:58,960 --> 00:20:00,919 Speaker 4: having that time that you could the kids of your craft, 390 00:20:01,560 --> 00:20:04,360 Speaker 4: you know, and you know, gratefully, you know, we were 391 00:20:04,359 --> 00:20:05,919 Speaker 4: in a place you know, might not have been the 392 00:20:05,920 --> 00:20:07,600 Speaker 4: best place, you know, but we were in a place 393 00:20:08,160 --> 00:20:10,880 Speaker 4: where you know, we had the time. You know, we're 394 00:20:10,880 --> 00:20:12,520 Speaker 4: all young, you know. You know, I don't think anyone 395 00:20:12,560 --> 00:20:15,760 Speaker 4: of the kids at that point. And it was just focused, 396 00:20:15,800 --> 00:20:18,320 Speaker 4: right and once start getting things start getting serious, right 397 00:20:18,440 --> 00:20:21,840 Speaker 4: uh you know, Jay Rock was at Warner Brothers, you know, uh, 398 00:20:22,040 --> 00:20:23,719 Speaker 4: you know, and things just start to build up. 399 00:20:23,960 --> 00:20:30,160 Speaker 1: Yeah, we heard y'all when y'all left and left with I. 400 00:20:30,119 --> 00:20:35,359 Speaker 5: Mean meeting you now, Oh they got it, got it. 401 00:20:35,440 --> 00:20:36,920 Speaker 5: They had some real muscle with it. 402 00:20:37,040 --> 00:20:39,000 Speaker 4: It was just it was a useful resource, you know 403 00:20:39,040 --> 00:20:40,800 Speaker 4: what I'm saying. It was a very useful resource. 404 00:20:40,880 --> 00:20:44,560 Speaker 1: You know, don't make Ali do it give up the. 405 00:20:44,640 --> 00:20:47,800 Speaker 4: Van man, I remember that. Man, it was a good 406 00:20:47,840 --> 00:20:52,119 Speaker 4: warning brother days shout out to name, yeah my guy. 407 00:20:52,520 --> 00:20:55,360 Speaker 4: But yeah, man, it was just again just as time progressed, man, 408 00:20:55,440 --> 00:20:58,200 Speaker 4: it was you know, I think everyone individually started really 409 00:20:58,280 --> 00:21:01,160 Speaker 4: falling into you know, uh you know. And again it's 410 00:21:01,200 --> 00:21:03,159 Speaker 4: I go back to this ten thousand hour right, Malcolm 411 00:21:03,160 --> 00:21:04,919 Speaker 4: glad Well, Right, you have to you know, to be 412 00:21:04,920 --> 00:21:06,840 Speaker 4: great at any one thing, one must acquire at a 413 00:21:06,840 --> 00:21:09,480 Speaker 4: minimum of ten thousand hours. Right. And I go back 414 00:21:09,480 --> 00:21:11,800 Speaker 4: and look in just the style of like app souls evolution, 415 00:21:12,000 --> 00:21:15,159 Speaker 4: of j Rocks evolution, of Kendrick's evolution, you know, and 416 00:21:15,359 --> 00:21:17,679 Speaker 4: school Boy Q's evolution. Right, It's like that wouldn't be 417 00:21:17,720 --> 00:21:20,480 Speaker 4: possible if the space wasn't there to be able to 418 00:21:20,480 --> 00:21:23,320 Speaker 4: have you know that that that that that free time 419 00:21:23,359 --> 00:21:26,399 Speaker 4: to create, right, So I look at all it's just 420 00:21:26,440 --> 00:21:28,840 Speaker 4: divine timing, man, Like you know everything you know it was, 421 00:21:28,880 --> 00:21:30,560 Speaker 4: it was already written, right, we were just catching up 422 00:21:30,600 --> 00:21:33,280 Speaker 4: the time. So as we're talking about engineering there the 423 00:21:34,480 --> 00:21:37,720 Speaker 4: you know, the next step is is the mixing part 424 00:21:37,800 --> 00:21:38,640 Speaker 4: of it? Right? Right? 425 00:21:38,680 --> 00:21:40,439 Speaker 5: I want to do it in steps on stages, so 426 00:21:40,480 --> 00:21:45,840 Speaker 5: to say. And so when is it when does it 427 00:21:45,880 --> 00:21:50,200 Speaker 5: occur to everyone that, man, this these these rough mixes 428 00:21:50,240 --> 00:21:54,320 Speaker 5: that you're doing is facious, is hard like this this 429 00:21:54,320 --> 00:21:55,760 Speaker 5: this could be the mix man. 430 00:21:55,920 --> 00:21:57,840 Speaker 4: Really trying to think what project that was. I think 431 00:21:57,880 --> 00:21:59,720 Speaker 4: when we started doing I think it was the Kindrick 432 00:21:59,840 --> 00:22:02,800 Speaker 4: mar Ep I'm like the first project from going from 433 00:22:02,880 --> 00:22:07,440 Speaker 4: Ketos Kendrick you know, that was super just that's one 434 00:22:07,440 --> 00:22:10,560 Speaker 4: person that you know, it's super meticulous about how every 435 00:22:10,720 --> 00:22:14,880 Speaker 4: one piece, what imperfection of a sava sound like it's 436 00:22:14,920 --> 00:22:16,560 Speaker 4: supposed to be there, right, You hear like a breath 437 00:22:16,560 --> 00:22:19,200 Speaker 4: of a drum loop, right, it's I go and try 438 00:22:19,200 --> 00:22:20,880 Speaker 4: to clip it out like it's supposed to be there. Right. 439 00:22:21,600 --> 00:22:23,919 Speaker 4: So just going through the journey with with with Bro 440 00:22:24,040 --> 00:22:27,760 Speaker 4: in those early days, you know, doing this Kings and yep, 441 00:22:29,359 --> 00:22:32,200 Speaker 4: you know that's I think one of the first projects 442 00:22:32,240 --> 00:22:36,000 Speaker 4: that I was working with Stems sound Way produced majority, 443 00:22:36,040 --> 00:22:37,879 Speaker 4: if not all of it with some co production by 444 00:22:37,960 --> 00:22:42,480 Speaker 4: Dave et cetera. And now you know, instead of just 445 00:22:42,520 --> 00:22:47,600 Speaker 4: having kick drums based to break down everything separate, everything 446 00:22:47,720 --> 00:22:49,960 Speaker 4: separate and everything before they were mind you, I'm working 447 00:22:49,960 --> 00:22:51,640 Speaker 4: with two tracks with two tracks, you know, so I'm 448 00:22:51,680 --> 00:22:54,360 Speaker 4: chopping up the two tracks I'm you know, reversing. I'm 449 00:22:54,359 --> 00:22:56,240 Speaker 4: trying to do what I can with with with what 450 00:22:56,320 --> 00:22:58,280 Speaker 4: I have, right, you know, and it worked to a 451 00:22:58,280 --> 00:23:01,840 Speaker 4: certain level, had its selling sonically, you know. So once 452 00:23:01,840 --> 00:23:04,119 Speaker 4: we start working with multi tracks, which was that first project, 453 00:23:04,160 --> 00:23:06,800 Speaker 4: I started realizing the freedom now that I have to 454 00:23:06,880 --> 00:23:11,240 Speaker 4: create these sonic landscapes, right dropouts, you know, delay throws, 455 00:23:11,320 --> 00:23:13,800 Speaker 4: using the whole sound spectrum of left and right, you know, 456 00:23:14,359 --> 00:23:16,560 Speaker 4: et cetera. That's when I was like, Okay, now we're 457 00:23:16,600 --> 00:23:17,840 Speaker 4: now we're playing the game for real. 458 00:23:17,960 --> 00:23:18,520 Speaker 1: You're painting. 459 00:23:18,560 --> 00:23:20,919 Speaker 4: Now, now you're painting like you know, this is my canvas, 460 00:23:20,960 --> 00:23:34,560 Speaker 4: and these instruments are all the colors. And that's where 461 00:23:34,560 --> 00:23:36,720 Speaker 4: the whole concept of seeing sounds from the place, you know, 462 00:23:36,880 --> 00:23:38,840 Speaker 4: just you know, I feel like when I mixed or 463 00:23:39,080 --> 00:23:40,680 Speaker 4: you know, you get this feeling a tunnel vision where 464 00:23:40,680 --> 00:23:42,159 Speaker 4: you're you know, you're able to kind of have you know, 465 00:23:42,200 --> 00:23:45,520 Speaker 4: a four bar loop on repeat and you're just like again, 466 00:23:45,680 --> 00:23:49,240 Speaker 4: just imagine Minority Report, you know, and you know what 467 00:23:49,280 --> 00:23:52,040 Speaker 4: I'm saying. Once you're locked in, you're locked in, man, 468 00:23:52,080 --> 00:23:55,200 Speaker 4: and yeah, so I think during that time, that's when 469 00:23:56,000 --> 00:23:59,080 Speaker 4: you know, again just personally, you know, as an audio engineer. 470 00:23:59,119 --> 00:24:01,800 Speaker 4: I felt that the defining moment, you know, my own 471 00:24:01,800 --> 00:24:05,800 Speaker 4: personal career with just the understanding of of of mixing 472 00:24:05,800 --> 00:24:07,880 Speaker 4: in real time, you know, with all the elements included, 473 00:24:08,520 --> 00:24:12,320 Speaker 4: you know, does does it? Does it become a conversation 474 00:24:12,560 --> 00:24:16,160 Speaker 4: where it's like where it's like, oh, this is this 475 00:24:16,200 --> 00:24:20,920 Speaker 4: is our sound a TD conversation like this is what 476 00:24:20,960 --> 00:24:23,239 Speaker 4: you're doing, this is what we're supposed to sound like, 477 00:24:23,480 --> 00:24:25,440 Speaker 4: you know, across the board? Does it does that become 478 00:24:25,480 --> 00:24:29,840 Speaker 4: a conversation? I think naturally it just became law over time, 479 00:24:30,240 --> 00:24:32,240 Speaker 4: you know, uh, you know, there was never no just 480 00:24:32,320 --> 00:24:35,960 Speaker 4: creative you know, restrictions or direction. You know. I think 481 00:24:36,000 --> 00:24:37,680 Speaker 4: that's also what made me who I am was the 482 00:24:37,800 --> 00:24:39,760 Speaker 4: freedom that all the artists who were including Top and 483 00:24:39,760 --> 00:24:42,480 Speaker 4: Punch and Dave has you know, given me to be 484 00:24:42,560 --> 00:24:45,680 Speaker 4: able to just do just throw things against the wall, right. 485 00:24:45,720 --> 00:24:47,080 Speaker 4: The worst thing they're going to say is that let's 486 00:24:47,119 --> 00:24:49,520 Speaker 4: just do it over or let's let's bring it back right. 487 00:24:49,560 --> 00:24:52,240 Speaker 4: And Section eighty was a product of that, right, the distortions, 488 00:24:52,280 --> 00:24:55,360 Speaker 4: the delays, the different tones, the doubles and stacks, and 489 00:24:55,600 --> 00:24:59,119 Speaker 4: the texture, the essence, the sonic essence of that project, 490 00:24:59,800 --> 00:25:02,760 Speaker 4: you know, essentially was a product of again just you know, 491 00:25:03,240 --> 00:25:06,840 Speaker 4: having that creative freedom and time right because I couldn't 492 00:25:06,840 --> 00:25:09,199 Speaker 4: afford that studio time anywhere else to be able to 493 00:25:09,240 --> 00:25:15,119 Speaker 4: trial and error plugins, you know, so you know again 494 00:25:15,200 --> 00:25:16,840 Speaker 4: it was it was just you know, it's just you know, 495 00:25:17,400 --> 00:25:21,000 Speaker 4: an effect of you know, just taking taking time and 496 00:25:21,080 --> 00:25:23,960 Speaker 4: you know, yeah, did you say freedom. I remember. 497 00:25:25,280 --> 00:25:27,440 Speaker 5: We did a song on my is It now? I 498 00:25:27,520 --> 00:25:30,720 Speaker 5: Never album? Keep it one hundred? This song, keep it 499 00:25:30,800 --> 00:25:34,040 Speaker 5: one hundred and of course you know Seet Jason, Joshua everything, 500 00:25:34,640 --> 00:25:37,200 Speaker 5: and this is this is my first time. 501 00:25:37,400 --> 00:25:39,479 Speaker 1: That's not now that, that's not now, that's not now. 502 00:25:39,640 --> 00:25:41,800 Speaker 1: Never is it? It's not never? 503 00:25:41,960 --> 00:25:42,320 Speaker 4: No never? 504 00:25:42,600 --> 00:25:51,000 Speaker 5: Okay, this is my intro to an engineer also being 505 00:25:51,800 --> 00:25:52,520 Speaker 5: a producer. 506 00:25:53,560 --> 00:25:54,560 Speaker 4: Oh, I know you hated that. 507 00:25:54,800 --> 00:26:01,480 Speaker 5: I didn't know. I didn't know, so it wasn't a hate. 508 00:26:01,480 --> 00:26:05,080 Speaker 5: I didn't know what was going on. So the song 509 00:26:05,160 --> 00:26:09,600 Speaker 5: comes on and I'm looking at him. I'm like, what 510 00:26:09,720 --> 00:26:12,200 Speaker 5: the fuck is because it starts off with this guitar 511 00:26:12,320 --> 00:26:16,280 Speaker 5: thing and it's on and you know, me and Jason 512 00:26:16,320 --> 00:26:17,920 Speaker 5: that we have we have like this, you know this 513 00:26:17,920 --> 00:26:20,280 Speaker 5: this this little kid, we're like little kids be cussing 514 00:26:20,320 --> 00:26:22,399 Speaker 5: at each other, and he said, shut the fuck up 515 00:26:22,400 --> 00:26:27,560 Speaker 5: and just listen, right, So started over and I'm listening 516 00:26:27,600 --> 00:26:31,920 Speaker 5: to it and I'm like, and it just grows into 517 00:26:32,000 --> 00:26:39,199 Speaker 5: this thing, and then it comes up and said you're nice, right, 518 00:26:39,800 --> 00:26:43,399 Speaker 5: And I was like, oh ship, He's like, bro, just 519 00:26:43,440 --> 00:26:44,520 Speaker 5: let me do my fucking thing. 520 00:26:44,600 --> 00:26:47,320 Speaker 4: Man, just let me. I said never. 521 00:26:47,480 --> 00:26:51,720 Speaker 5: I will never. I will never stifle you. I will 522 00:26:51,760 --> 00:26:57,600 Speaker 5: never have demo itis ever again. Do whatever it is 523 00:26:57,640 --> 00:27:01,239 Speaker 5: that you do. And if you sorry for cutting you off. 524 00:27:01,760 --> 00:27:04,680 Speaker 4: That's important, man, because and I tell young artists that 525 00:27:04,720 --> 00:27:06,280 Speaker 4: I work with or you know, young artists that come 526 00:27:06,320 --> 00:27:08,840 Speaker 4: across and inspire by and have conversations with based on 527 00:27:08,920 --> 00:27:11,399 Speaker 4: just my experience, I'm like, man, it's important if you 528 00:27:11,440 --> 00:27:14,920 Speaker 4: have somebody there that gives the funk enough to do. Man, 529 00:27:15,040 --> 00:27:18,480 Speaker 4: lean into that, y lean into that, right, because the worst, 530 00:27:18,680 --> 00:27:21,959 Speaker 4: at the at the bare minimum of what was what 531 00:27:21,960 --> 00:27:23,600 Speaker 4: you could say is hey, go back to the last version. 532 00:27:23,760 --> 00:27:27,640 Speaker 4: But lat give somebody that freedom to be able to experiment, right, 533 00:27:27,640 --> 00:27:29,640 Speaker 4: because you might find something that you can now take 534 00:27:29,960 --> 00:27:32,879 Speaker 4: and add to your toolbox that you know sign you know, 535 00:27:33,000 --> 00:27:35,560 Speaker 4: so I can imagine that feeling man, you know, and 536 00:27:35,880 --> 00:27:39,160 Speaker 4: knowing Jason, right, you know it's a legend. It's something 537 00:27:39,160 --> 00:27:41,560 Speaker 4: wrong with him. Yeah, it's something wrong. 538 00:27:42,000 --> 00:27:46,720 Speaker 5: And it's that freedom that that that takes the creativity 539 00:27:47,200 --> 00:27:49,880 Speaker 5: to another place because we're all if we all can 540 00:27:49,960 --> 00:27:52,119 Speaker 5: creatively contribute, we're all invested in it. 541 00:27:52,160 --> 00:27:52,520 Speaker 4: We're all. 542 00:27:53,440 --> 00:27:56,359 Speaker 5: It just does like imagine the guy who first was like, 543 00:27:57,640 --> 00:28:01,920 Speaker 5: who was first dialing up Travis Scott, right, imagine that 544 00:28:02,160 --> 00:28:03,800 Speaker 5: or if it's him, it's like, there's no the ad 545 00:28:03,840 --> 00:28:05,439 Speaker 5: to put that on there and then put that on there. 546 00:28:05,480 --> 00:28:07,520 Speaker 4: That's me that ended up. It sounds that's you know, 547 00:28:07,720 --> 00:28:09,480 Speaker 4: that's exactly right now we're. 548 00:28:09,359 --> 00:28:13,800 Speaker 5: Chasing that as opposed to him saying nah, nah, don't 549 00:28:13,800 --> 00:28:15,160 Speaker 5: don't do all that, you're doing too much. 550 00:28:15,680 --> 00:28:17,560 Speaker 4: Our tell individual all the time. Man, it's like, man, 551 00:28:17,560 --> 00:28:20,240 Speaker 4: when you like and especially nowadays, it's a different time 552 00:28:20,280 --> 00:28:22,720 Speaker 4: where you know these young creators right, very ambitiously right. 553 00:28:22,760 --> 00:28:24,760 Speaker 4: I love it about them, right, you know, go out 554 00:28:24,800 --> 00:28:27,800 Speaker 4: and you know, build brands behind themselves and you don't 555 00:28:27,800 --> 00:28:29,960 Speaker 4: want to charge the five ten thousands of mix, but 556 00:28:30,080 --> 00:28:32,800 Speaker 4: not just there. You fall in love with the music first, right, 557 00:28:32,920 --> 00:28:36,480 Speaker 4: become an irreplaceable asset first, right, and then you can 558 00:28:36,520 --> 00:28:38,680 Speaker 4: setch your rate. Here it is right. You know, it's 559 00:28:39,160 --> 00:28:40,920 Speaker 4: you have to love it enough to do it for 560 00:28:41,240 --> 00:28:43,440 Speaker 4: you know, as many fucking months as you can endure 561 00:28:43,480 --> 00:28:46,040 Speaker 4: for free because you love it so much. Right, And 562 00:28:46,200 --> 00:28:48,320 Speaker 4: you know that's when you know you have those engineers 563 00:28:48,360 --> 00:28:51,800 Speaker 4: and artists combinations, right that we've seen, like we stand, 564 00:28:51,920 --> 00:28:55,360 Speaker 4: you know, just generations of music. I don't want to. 565 00:28:55,400 --> 00:29:00,440 Speaker 5: Leave the mix yet, who from a mix from a 566 00:29:00,480 --> 00:29:04,960 Speaker 5: mixed standpoint where we're guys that you listened to Doctor 567 00:29:05,040 --> 00:29:05,880 Speaker 5: d s. 568 00:29:07,400 --> 00:29:13,400 Speaker 4: I'm sorry it's one that's the one on your minds. 569 00:29:14,160 --> 00:29:16,160 Speaker 2: So because because that's how I was going to ask 570 00:29:16,160 --> 00:29:23,440 Speaker 2: you to I'm glad because early on you were blessed 571 00:29:24,000 --> 00:29:26,280 Speaker 2: to be connected to him. Because obviously y'all ended up 572 00:29:26,320 --> 00:29:31,080 Speaker 2: doing y'all deal the aftermath? How does that go? Because 573 00:29:31,560 --> 00:29:34,400 Speaker 2: my other question, it's kind of a two part question, 574 00:29:34,480 --> 00:29:38,880 Speaker 2: where did you have issues in the beginning when y'all 575 00:29:39,000 --> 00:29:42,479 Speaker 2: first did y'all major deals with the labels being like, 576 00:29:42,960 --> 00:29:45,840 Speaker 2: oh well, maybe y'all should take these records to such 577 00:29:45,880 --> 00:29:47,800 Speaker 2: and such to let them mix. Did y'all ever even 578 00:29:47,840 --> 00:29:49,800 Speaker 2: have those conversations. 579 00:29:49,040 --> 00:29:56,960 Speaker 4: Are not like to what going for one? But outside 580 00:29:57,000 --> 00:29:59,160 Speaker 4: of that, man, you know, just just Kendrick, right, just 581 00:29:59,200 --> 00:30:01,560 Speaker 4: in control of them. You know, we've developed the sound 582 00:30:01,680 --> 00:30:04,920 Speaker 4: and experience. We've developed this from you know, years before, 583 00:30:05,040 --> 00:30:08,080 Speaker 4: you know, the Good Kid Mess City project where you know, 584 00:30:08,160 --> 00:30:11,240 Speaker 4: Kendrick is the one that was boldfully like you know 585 00:30:11,280 --> 00:30:13,720 Speaker 4: what I'm saying, I was fucking Dre's an idol to me, 586 00:30:13,760 --> 00:30:15,600 Speaker 4: you know, I'm so, I'm just I'm nervous to meet 587 00:30:15,600 --> 00:30:17,400 Speaker 4: the fucking guy, you know. Yeah, and Dre, you know, 588 00:30:17,480 --> 00:30:19,040 Speaker 4: died is like, Yo, I want a lad in the 589 00:30:19,080 --> 00:30:21,040 Speaker 4: mixing room with you, you know, as as we're doing this 590 00:30:21,040 --> 00:30:22,560 Speaker 4: because we developed sounds and I don't want to lose 591 00:30:22,560 --> 00:30:25,800 Speaker 4: that essence, right you know, So you know Dre being 592 00:30:25,800 --> 00:30:28,000 Speaker 4: you know, it's open armed, it, you know, open armed 593 00:30:28,000 --> 00:30:30,600 Speaker 4: in a sense where that album was almost a training 594 00:30:30,640 --> 00:30:32,960 Speaker 4: route because going from mixing in the box and the 595 00:30:33,240 --> 00:30:36,320 Speaker 4: you know everything prior to that, right you know, using 596 00:30:36,360 --> 00:30:39,760 Speaker 4: cracked plugins, you know, stolen in boxes, uh, you know, 597 00:30:39,960 --> 00:30:42,520 Speaker 4: no multi tracks, really chopping up the two track and 598 00:30:42,840 --> 00:30:46,920 Speaker 4: reversing ship right now, you know, Dre's teaching me the 599 00:30:46,960 --> 00:30:48,960 Speaker 4: console and how to mix on the assel. Right so 600 00:30:49,000 --> 00:30:52,760 Speaker 4: I'm taking all the the the digital tricks that I've 601 00:30:52,760 --> 00:30:55,360 Speaker 4: acquired right throughout my own personal journey of trial and 602 00:30:55,440 --> 00:30:57,320 Speaker 4: error and now I can apply it right on the 603 00:30:57,400 --> 00:31:00,320 Speaker 4: analog console with that sound, right, and that esse actually 604 00:31:00,520 --> 00:31:03,640 Speaker 4: is another you know milestone of my career that you 605 00:31:03,680 --> 00:31:05,400 Speaker 4: know made me who I am and kind of you 606 00:31:05,440 --> 00:31:09,480 Speaker 4: know merged my you know, you know, highly affected sound 607 00:31:09,600 --> 00:31:20,880 Speaker 4: with the clarity and depth of analog, right and. 608 00:31:13,520 --> 00:31:20,280 Speaker 2: You Yeah, So, how how long were y'all in as 609 00:31:20,280 --> 00:31:23,120 Speaker 2: far as just you you you and Dre just you know, 610 00:31:23,280 --> 00:31:25,760 Speaker 2: just he's different chopping away son. 611 00:31:26,000 --> 00:31:28,960 Speaker 4: There was this old studio and Santa Monica, no excuses, 612 00:31:29,520 --> 00:31:34,320 Speaker 4: it was the one across finished, you know, and and 613 00:31:34,400 --> 00:31:37,400 Speaker 4: Dre had that one really locked down when we started 614 00:31:37,440 --> 00:31:39,840 Speaker 4: mixing the album because obviously months before that, as died 615 00:31:39,960 --> 00:31:43,160 Speaker 4: was finalizing the album, you know, uh, you know, DoD 616 00:31:43,200 --> 00:31:45,200 Speaker 4: had sessions with Dre. You know, it was just you know, 617 00:31:45,280 --> 00:31:48,440 Speaker 4: pulling up the studio playing songs, like getting feedback, recording 618 00:31:48,480 --> 00:31:51,080 Speaker 4: there with him at times, et cetera. But when it 619 00:31:51,160 --> 00:31:54,760 Speaker 4: got towards the time to actually mixing, you know, Dre 620 00:31:54,880 --> 00:31:56,360 Speaker 4: actually gave me one of the rooms in the back 621 00:31:56,960 --> 00:31:58,960 Speaker 4: and uh he was in the front mixing. So we 622 00:31:59,040 --> 00:32:00,880 Speaker 4: kind of took on that album as a pair right 623 00:32:00,880 --> 00:32:02,920 Speaker 4: where he would get a bachel of songs and I 624 00:32:02,920 --> 00:32:04,880 Speaker 4: would be in the back working on the batchel's songs. 625 00:32:05,640 --> 00:32:07,520 Speaker 4: Funny enough, the board that I mixed that album on 626 00:32:07,640 --> 00:32:13,280 Speaker 4: and no excuses I bought and we're going to we're 627 00:32:13,320 --> 00:32:17,000 Speaker 4: going to that story. But you know, so again it's 628 00:32:17,000 --> 00:32:19,000 Speaker 4: the first album that I mixed on on the console, 629 00:32:20,120 --> 00:32:22,360 Speaker 4: dreising the front working on a batchel of records. I'm 630 00:32:22,400 --> 00:32:24,520 Speaker 4: in the back, uh, you know again, working on the 631 00:32:24,560 --> 00:32:27,000 Speaker 4: other on the other, on the other batches. And he 632 00:32:27,000 --> 00:32:28,560 Speaker 4: would have come in and that critique me. Like he 633 00:32:28,560 --> 00:32:30,240 Speaker 4: would come in and like put thumbs up, thumbs down, 634 00:32:30,320 --> 00:32:31,840 Speaker 4: or tell me what he would do different, or I 635 00:32:31,880 --> 00:32:33,400 Speaker 4: will go into his room where he would kind of 636 00:32:33,440 --> 00:32:35,640 Speaker 4: walk me through and show me, you know, why he 637 00:32:35,640 --> 00:32:37,520 Speaker 4: would be doing things, or you know, if the board 638 00:32:37,560 --> 00:32:39,480 Speaker 4: is clipping right, it's a good type of clip where 639 00:32:39,520 --> 00:32:41,680 Speaker 4: you know, only on drums or percussion, where you get 640 00:32:41,680 --> 00:32:43,880 Speaker 4: this kind of peak that you know, that's why drums 641 00:32:44,160 --> 00:32:46,440 Speaker 4: Dre's drums always snapping the way that they do right, 642 00:32:46,480 --> 00:32:49,640 Speaker 4: because of how he manipulates that console and pushes it 643 00:32:49,960 --> 00:32:53,120 Speaker 4: to his literal limit. You know. So it was again 644 00:32:53,240 --> 00:32:56,120 Speaker 4: when I say milestone right, you know, you know again 645 00:32:56,240 --> 00:32:58,640 Speaker 4: you know, I'm learning techniques that you know, somebody has 646 00:32:58,680 --> 00:33:01,880 Speaker 4: you know, learned over time span of his career. Right, 647 00:33:01,920 --> 00:33:05,040 Speaker 4: and you know, you know it's and again it was 648 00:33:05,080 --> 00:33:07,040 Speaker 4: just as welcoming as he was to have me in 649 00:33:07,040 --> 00:33:09,720 Speaker 4: these rooms and and and you know, and and and 650 00:33:09,880 --> 00:33:12,680 Speaker 4: support it the way that he did, right. You know, again, 651 00:33:12,720 --> 00:33:14,840 Speaker 4: it's just something that to his dad still can't process. 652 00:33:14,920 --> 00:33:15,120 Speaker 4: You know. 653 00:33:16,000 --> 00:33:25,280 Speaker 5: It's like it's unfair. Like Dre is like hearing a 654 00:33:25,360 --> 00:33:32,720 Speaker 5: Dre mix in a Dre room. It's like, yeah, nobody 655 00:33:32,800 --> 00:33:35,600 Speaker 5: can do this. Nobody's gonna nobody and it's not gonna 656 00:33:35,600 --> 00:33:39,720 Speaker 5: sound like this anywhere else. You're in this room. The 657 00:33:39,800 --> 00:33:44,760 Speaker 5: room is crazy, right. And like because we back in 658 00:33:44,800 --> 00:33:46,400 Speaker 5: the day, it used to be two people. For me, 659 00:33:47,600 --> 00:33:52,040 Speaker 5: it was Teddy Riley and it was doctor Dre. I 660 00:33:52,120 --> 00:33:54,640 Speaker 5: was like, don't know how they're doing this. Timberland had 661 00:33:54,640 --> 00:33:58,680 Speaker 5: his own mixed style, him and him and Jimmy, they 662 00:33:58,720 --> 00:34:03,080 Speaker 5: had their own that was just separate. That's a separate universe, right, nobody. 663 00:34:03,600 --> 00:34:08,280 Speaker 5: I can't figure that out. But Doctor Dre and Teddy 664 00:34:08,400 --> 00:34:11,480 Speaker 5: Riley had this thing where it was like we have 665 00:34:11,560 --> 00:34:15,600 Speaker 5: to we have we're chasing this clarity. 666 00:34:15,640 --> 00:34:18,719 Speaker 4: Man, it's it's it's it's rhythm also, right, just even 667 00:34:18,760 --> 00:34:21,640 Speaker 4: with with with Teddy with you know, the percussion being 668 00:34:21,640 --> 00:34:25,520 Speaker 4: the lead, the high hatch being the lead. You know, 669 00:34:25,560 --> 00:34:28,360 Speaker 4: it's all those like high midfield sounds bro that like 670 00:34:28,400 --> 00:34:31,000 Speaker 4: really catch her hair and all the rhythm makers of 671 00:34:31,040 --> 00:34:31,880 Speaker 4: these records, you know. 672 00:34:32,160 --> 00:34:37,359 Speaker 5: But it's also too like a thing where mixing, like 673 00:34:37,360 --> 00:34:41,879 Speaker 5: like track sonics and all these things, mixing evolves, right, 674 00:34:42,239 --> 00:34:45,440 Speaker 5: and I feel like you know, in in in the 675 00:34:45,600 --> 00:34:52,040 Speaker 5: in the heavy Teddy days, kind of mid mid heavy, 676 00:34:52,200 --> 00:34:57,480 Speaker 5: kind of low mid and maybe like like that high 677 00:34:57,520 --> 00:35:00,759 Speaker 5: mid frequency like that was heavy back then because it 678 00:35:01,000 --> 00:35:02,120 Speaker 5: wasn't super. 679 00:35:02,400 --> 00:35:02,879 Speaker 4: Eight the wait. 680 00:35:02,960 --> 00:35:06,080 Speaker 5: Look, the percussion with the dry percussion was the was 681 00:35:06,120 --> 00:35:09,280 Speaker 5: the driver. And then it was like as we just started. 682 00:35:09,800 --> 00:35:11,040 Speaker 4: It's like away from here, and then when you go 683 00:35:11,160 --> 00:35:13,840 Speaker 4: further west now it's like start sucking in other drums. 684 00:35:14,360 --> 00:35:15,000 Speaker 4: You know what I'm saying. 685 00:35:15,000 --> 00:35:18,240 Speaker 5: When you start migrating into the two thousands, now, ass 686 00:35:18,360 --> 00:35:22,719 Speaker 5: is a thing. It is dragon like like I think 687 00:35:22,760 --> 00:35:26,000 Speaker 5: with a testament to that is when the Beats headphones 688 00:35:26,040 --> 00:35:29,040 Speaker 5: first came out and you hear. 689 00:35:30,440 --> 00:35:31,799 Speaker 4: Buy me a drink. 690 00:35:34,080 --> 00:35:38,359 Speaker 5: Was a tester for the Beats headphones and I was like, 691 00:35:38,719 --> 00:35:41,480 Speaker 5: do you hear the ass. 692 00:35:42,800 --> 00:35:44,759 Speaker 4: In here? You can close your eyes and see it. 693 00:35:44,880 --> 00:35:45,120 Speaker 3: Yeah. 694 00:35:45,200 --> 00:35:49,319 Speaker 4: Man, I'm telling you that's real. 695 00:35:49,680 --> 00:35:54,279 Speaker 5: I don't want no other headphones that don't put the 696 00:35:54,360 --> 00:35:55,800 Speaker 5: ass on my ears. 697 00:35:55,920 --> 00:35:57,880 Speaker 4: It's funny. I forgot what documented. I think it was 698 00:35:57,880 --> 00:36:00,120 Speaker 4: to the Fine Ones that Jimmy and Dre dark, but 699 00:36:00,160 --> 00:36:01,800 Speaker 4: it was it was either that or some clip that 700 00:36:01,840 --> 00:36:04,560 Speaker 4: I was saying. And you know, one of the inspirations, 701 00:36:04,560 --> 00:36:06,080 Speaker 4: and please don't quote me on it, but I have 702 00:36:06,239 --> 00:36:09,920 Speaker 4: very vividly remember this. Jimmy was like, Yo, Dre's mixing 703 00:36:10,000 --> 00:36:13,120 Speaker 4: these songs on fucking million dollar boards and these big 704 00:36:13,160 --> 00:36:15,880 Speaker 4: studios for them to not sound good when you hear them. One, 705 00:36:15,920 --> 00:36:18,360 Speaker 4: you're right, And I was one of the inspirations behind it, 706 00:36:18,400 --> 00:36:20,319 Speaker 4: So give them. You know, now you're hearing the ass. 707 00:36:20,360 --> 00:36:24,400 Speaker 4: Are you're supposed to hear ass? You know, supposed to? Yeah? 708 00:36:24,600 --> 00:36:29,560 Speaker 5: I was like, it was revolutionary. You know what I'm saying, 709 00:36:30,120 --> 00:36:32,640 Speaker 5: Let's go to Let's go to because I want to 710 00:36:32,640 --> 00:36:34,680 Speaker 5: get into the projects, right. I just want you to 711 00:36:34,719 --> 00:36:36,439 Speaker 5: you know, at some point we're going to start running 712 00:36:36,480 --> 00:36:40,520 Speaker 5: off projects and names. Let's go to the next level, 713 00:36:40,560 --> 00:36:47,240 Speaker 5: which is master, because it's that's a completely different science. 714 00:36:48,239 --> 00:36:54,959 Speaker 5: There are there are great mixed engineers who don't necessarily 715 00:36:56,000 --> 00:37:01,760 Speaker 5: graduate or even want to roll into to the mastering space. 716 00:37:02,000 --> 00:37:07,560 Speaker 5: And over the last ship five years, five seven years, 717 00:37:07,600 --> 00:37:11,400 Speaker 5: I've seen so many engineers that are like, no, I 718 00:37:11,480 --> 00:37:12,560 Speaker 5: master it to the do it all? 719 00:37:12,600 --> 00:37:16,959 Speaker 4: Yeah, they do it all. What is what? What does 720 00:37:16,960 --> 00:37:19,759 Speaker 4: it take to take that next step? So it's a 721 00:37:19,760 --> 00:37:22,839 Speaker 4: good thing, as you said, over the past five years quote, right, 722 00:37:22,920 --> 00:37:25,799 Speaker 4: you know, you know, just as of late, yeah, we've 723 00:37:25,800 --> 00:37:28,319 Speaker 4: been seeing more engineers. And I want to go back 724 00:37:28,400 --> 00:37:30,600 Speaker 4: to when when we talked about from the Teddy Riley 725 00:37:30,760 --> 00:37:34,080 Speaker 4: going up to you know, early two thousands, right, the 726 00:37:34,160 --> 00:37:38,320 Speaker 4: style of mixing has evolved, right, that's now another evolution 727 00:37:38,480 --> 00:37:42,759 Speaker 4: right where it's now at a weight and base driven right. Right, 728 00:37:42,960 --> 00:37:46,000 Speaker 4: All these young kids, these these early albums, all they 729 00:37:46,000 --> 00:37:47,640 Speaker 4: want is at eight to eight to just flutter. They 730 00:37:47,680 --> 00:37:49,959 Speaker 4: want that to be the driving record. Even the kicks 731 00:37:49,960 --> 00:37:52,680 Speaker 4: are taking the bottom line to the eight away, right, 732 00:37:53,080 --> 00:37:54,799 Speaker 4: you know, where the ataweight are really just taking over 733 00:37:54,840 --> 00:37:57,479 Speaker 4: the whole mix, right, And these engineers are the ones 734 00:37:57,560 --> 00:38:01,719 Speaker 4: doing that right where. You know, me personally, my era 735 00:38:01,760 --> 00:38:04,800 Speaker 4: of music, the twenty tens, twenty twenties, you know obviously 736 00:38:04,880 --> 00:38:07,080 Speaker 4: you know still you know, heavy in the game now, 737 00:38:07,080 --> 00:38:09,399 Speaker 4: but you know, venturing over the business. My whole thing 738 00:38:09,480 --> 00:38:11,799 Speaker 4: was clarity, depth, right, my whole, my whole you know, 739 00:38:12,040 --> 00:38:16,160 Speaker 4: uh uh mixing process was you know, making an artist 740 00:38:16,360 --> 00:38:18,880 Speaker 4: sound like they're standing in front of the speaker like 741 00:38:18,920 --> 00:38:22,080 Speaker 4: it's not over you know, over processed, distorted, et cetera. 742 00:38:22,560 --> 00:38:24,759 Speaker 4: But that was the music for that time, right. I 743 00:38:24,760 --> 00:38:27,520 Speaker 4: feel like now where everything is that everything had you know, 744 00:38:27,880 --> 00:38:31,440 Speaker 4: the low end driving, low end distorted, the Travis Travis 745 00:38:31,480 --> 00:38:36,960 Speaker 4: Scott type of sound. Right, And these engineers that are 746 00:38:37,120 --> 00:38:39,480 Speaker 4: you know because again me, I outsourced engine I'm mastering 747 00:38:39,480 --> 00:38:42,040 Speaker 4: enginees for all my mixes. I go to either Mike 748 00:38:42,080 --> 00:38:45,719 Speaker 4: Bosey or I go to Nicholas Deparcel A million dollars 749 00:38:45,760 --> 00:38:48,680 Speaker 4: in there, because I want somebody else to now take on, 750 00:38:49,120 --> 00:38:51,680 Speaker 4: you know, a part of the project, right, you know, 751 00:38:51,800 --> 00:38:54,239 Speaker 4: sonically mixing, I go up to a certain level. I 752 00:38:54,280 --> 00:38:57,160 Speaker 4: want mastering and kind of normalize it. But these kids 753 00:38:57,160 --> 00:39:00,680 Speaker 4: now with the mastering is again they're able to take 754 00:39:00,719 --> 00:39:03,520 Speaker 4: the whole flow from recording, mixing mastering because it is 755 00:39:03,600 --> 00:39:07,680 Speaker 4: now like part of like the sound, like the distortedness 756 00:39:07,800 --> 00:39:10,880 Speaker 4: the vocals to the front, base to the front, everything 757 00:39:10,880 --> 00:39:13,960 Speaker 4: else played back burner. It's like a style that I 758 00:39:14,000 --> 00:39:17,080 Speaker 4: could say that it's really has been cultivated and created 759 00:39:17,120 --> 00:39:21,120 Speaker 4: by these engineers over the past five six years. But 760 00:39:21,239 --> 00:39:23,960 Speaker 4: saying all to say this is, you know, I admire 761 00:39:24,040 --> 00:39:26,480 Speaker 4: those that you know, take on, you know, the full 762 00:39:26,880 --> 00:39:29,040 Speaker 4: creative process. You know, I know Jason does it now 763 00:39:29,040 --> 00:39:31,160 Speaker 4: as well too, right, he does the masters on mixes, 764 00:39:32,160 --> 00:39:34,920 Speaker 4: and before he was outsourcing exactly right, But that's even 765 00:39:35,000 --> 00:39:36,719 Speaker 4: he was analog, and I know he's in the box now, 766 00:39:37,239 --> 00:39:38,920 Speaker 4: you know what I'm saying. So it's all in evolution 767 00:39:39,040 --> 00:39:41,520 Speaker 4: with the times you know of music. And I think 768 00:39:41,800 --> 00:39:44,359 Speaker 4: you know, you can only push a record so far 769 00:39:44,560 --> 00:39:47,200 Speaker 4: on a console, right compared to mixing in the box, right, 770 00:39:47,239 --> 00:39:49,800 Speaker 4: you can get more loudness in the box, et cetera. 771 00:39:49,920 --> 00:39:54,919 Speaker 4: So again, long winded answer, but saying ought to say 772 00:39:55,120 --> 00:39:57,360 Speaker 4: is the engineers that are now doing the recorded mixing 773 00:39:57,360 --> 00:39:59,520 Speaker 4: and mastering, doing everything in the box the way they're 774 00:39:59,520 --> 00:40:02,560 Speaker 4: doing it, they're but it really you know, push these 775 00:40:02,600 --> 00:40:05,800 Speaker 4: records and just have more control over the final product. 776 00:40:06,360 --> 00:40:07,080 Speaker 4: At the end of the day. 777 00:40:08,640 --> 00:40:14,680 Speaker 5: You you you alluded to buying the board, you you 778 00:40:14,840 --> 00:40:18,920 Speaker 5: mixed on what what what board would that be? And 779 00:40:19,640 --> 00:40:24,040 Speaker 5: for what purpose did you buy said board? So you know, 780 00:40:24,280 --> 00:40:26,520 Speaker 5: we talk about the engineers that are mixing. I'm still 781 00:40:26,600 --> 00:40:28,440 Speaker 5: very much analogue, you know. 782 00:40:28,560 --> 00:40:31,760 Speaker 4: That's you know one, you know, I love the sonics, 783 00:40:31,800 --> 00:40:34,799 Speaker 4: you know, you know, studio rat in every essence of 784 00:40:34,840 --> 00:40:38,680 Speaker 4: the word. But also it's like it's what keeps me 785 00:40:38,760 --> 00:40:41,719 Speaker 4: like loving it, like I am the mouse, right, you know. 786 00:40:41,840 --> 00:40:44,960 Speaker 4: It's yeah, like I'm literally inside the computer when I'm 787 00:40:44,960 --> 00:40:47,479 Speaker 4: you know, adjusting these mixes and you know, not looking 788 00:40:47,520 --> 00:40:50,359 Speaker 4: at the computer at all, you know, But that's me, right, 789 00:40:50,440 --> 00:40:52,799 Speaker 4: you know, I'm at a point in my career to where, 790 00:40:53,200 --> 00:40:55,040 Speaker 4: you know, I'm only working on things that I want 791 00:40:55,080 --> 00:40:57,600 Speaker 4: to work on, right, So I'm not in the in 792 00:40:57,600 --> 00:40:59,560 Speaker 4: the space of you know, trying to do ten mixes 793 00:40:59,600 --> 00:41:02,160 Speaker 4: a month, I'm sorry, ten mixes a day a week, whatever, 794 00:41:03,680 --> 00:41:07,000 Speaker 4: you know. So, you know, the acquiring the console, and 795 00:41:07,840 --> 00:41:10,279 Speaker 4: for one, it's it's a part of you know, just 796 00:41:11,239 --> 00:41:14,520 Speaker 4: it's a through line in the story, you know, you know, 797 00:41:14,880 --> 00:41:18,080 Speaker 4: coming up how it came up dre bill mentor acquiring 798 00:41:18,120 --> 00:41:20,319 Speaker 4: the old you know, you know, the old death Row 799 00:41:20,680 --> 00:41:23,799 Speaker 4: can Am Studios and now the console that I was 800 00:41:23,800 --> 00:41:26,560 Speaker 4: taught on. You know, it's more of a memorabilia piece 801 00:41:26,600 --> 00:41:28,560 Speaker 4: for myself, you know, something passed down to my kids. 802 00:41:28,560 --> 00:41:32,120 Speaker 4: Really real board is it's SSL four thousand and j 803 00:41:33,400 --> 00:41:35,880 Speaker 4: G plus, one of the last ones ever in production. 804 00:41:36,040 --> 00:41:38,200 Speaker 4: He's my favorite. Yeah, it's those are the ones you 805 00:41:38,239 --> 00:41:40,920 Speaker 4: can clip, right, you could just smash the percussionist the 806 00:41:41,040 --> 00:41:45,880 Speaker 4: high hats. But again, it was you know, uh, you know, 807 00:41:45,920 --> 00:41:47,879 Speaker 4: I think at the time No Excuses was shutting down, 808 00:41:47,880 --> 00:41:50,200 Speaker 4: and Ed the studio manager, had called me like, hey, 809 00:41:50,320 --> 00:41:53,840 Speaker 4: you know the concert I spent years and No Excuses 810 00:41:53,880 --> 00:41:57,239 Speaker 4: sleeping on those fucking couches, and surprising I was the 811 00:41:57,280 --> 00:41:59,560 Speaker 4: first one they called like, hey, this this board is available. 812 00:42:00,280 --> 00:42:03,080 Speaker 4: Uh and timing, you know, again, it lined up where 813 00:42:03,480 --> 00:42:05,640 Speaker 4: I was just moving into the studio and I was like, hey, 814 00:42:05,719 --> 00:42:08,680 Speaker 4: you know, just just all came together like water. 815 00:42:08,800 --> 00:42:10,640 Speaker 2: Because that's what people have to understand too. You have 816 00:42:10,719 --> 00:42:15,120 Speaker 2: to have somewhere to put these yeah right, it's start 817 00:42:15,160 --> 00:42:19,160 Speaker 2: there at all, right, but just you know, because we'd 818 00:42:19,160 --> 00:42:20,520 Speaker 2: be like oh yeah, yeah, and then I got the 819 00:42:20,760 --> 00:42:23,000 Speaker 2: where you're gonna put it. You don't have a facility. 820 00:42:23,880 --> 00:42:25,960 Speaker 2: These are not bores that you just put in your 821 00:42:25,960 --> 00:42:26,439 Speaker 2: living room. 822 00:42:26,480 --> 00:42:28,800 Speaker 4: So it was the original one if you remember ad Noaks. 823 00:42:28,960 --> 00:42:32,600 Speaker 4: It was an eighty channel G plus that we cut 824 00:42:32,640 --> 00:42:36,399 Speaker 4: down to forty eight so it could fit the room 825 00:42:36,440 --> 00:42:38,680 Speaker 4: for one. And uh, you know, if you just know 826 00:42:38,719 --> 00:42:42,120 Speaker 4: the logistics of getting these parts to these consoles, it's impossible. 827 00:42:42,160 --> 00:42:44,560 Speaker 4: So we just wanted spare parts that we can kind 828 00:42:44,560 --> 00:42:48,800 Speaker 4: of use. But you know, it's yeah, you need a facility. 829 00:42:48,880 --> 00:42:51,040 Speaker 4: And the computers are as big as as fucking the 830 00:42:51,120 --> 00:42:54,520 Speaker 4: speaker a mount is. Uh, they're older from the eighties. 831 00:42:54,560 --> 00:42:57,439 Speaker 4: It's like buying an old Chevy like this. Something's always broke. 832 00:42:57,480 --> 00:43:00,120 Speaker 4: My motherfucker likes a class. It's a classic, you know. 833 00:43:00,200 --> 00:43:02,279 Speaker 4: So we have a G plus in the front room 834 00:43:02,280 --> 00:43:04,480 Speaker 4: and I got a J eighty channel J in the 835 00:43:04,480 --> 00:43:07,440 Speaker 4: back room. Yeah, so we have. 836 00:43:07,680 --> 00:43:11,320 Speaker 1: And you did a whole overhaul full overall the building. 837 00:43:11,480 --> 00:43:15,520 Speaker 4: So we acquired the studio two thousand, like the peak pandemic. 838 00:43:16,680 --> 00:43:20,640 Speaker 4: And during this time, I was I was man, I 839 00:43:20,680 --> 00:43:23,319 Speaker 4: had on core American Parents, I had all these rooms 840 00:43:23,360 --> 00:43:26,759 Speaker 4: booked out, just working on multiple albums, and I'm just 841 00:43:26,840 --> 00:43:29,759 Speaker 4: I realized that I'm giving these studios too much fucking money, man, right, 842 00:43:30,400 --> 00:43:31,719 Speaker 4: I think when I when I when I went through 843 00:43:31,760 --> 00:43:33,279 Speaker 4: and went through statements and I was just, you know, 844 00:43:33,320 --> 00:43:36,399 Speaker 4: just doing my my annual. What the fuck I think? 845 00:43:36,400 --> 00:43:37,920 Speaker 4: I was given like three hundred and fifty k a 846 00:43:37,960 --> 00:43:41,400 Speaker 4: month in studio in studio studio bookings between all the 847 00:43:41,400 --> 00:43:43,600 Speaker 4: different rooms that I have, you had that many bookings. 848 00:43:43,600 --> 00:43:46,600 Speaker 4: I had four rooms going on one time, four rooms 849 00:43:46,640 --> 00:43:54,320 Speaker 4: going away. Lord, cooking and cooking. Boy, I'm talking about cooking, cooking. 850 00:43:55,320 --> 00:43:56,799 Speaker 4: But it's like I had a formula, I had an 851 00:43:56,800 --> 00:44:00,640 Speaker 4: incredible team, like you know. But boy, I'm like, I'm like, 852 00:44:01,040 --> 00:44:02,960 Speaker 4: you know me looking around, I'm like, it's is tight, 853 00:44:03,040 --> 00:44:06,160 Speaker 4: but like it's it's a leaky bucket somewhere like you know, 854 00:44:06,239 --> 00:44:08,759 Speaker 4: And I'm like, okay, it's his studio. Like it's an 855 00:44:08,760 --> 00:44:12,000 Speaker 4: opportunity where you know, you on top of an incredible 856 00:44:12,000 --> 00:44:13,719 Speaker 4: mixed fee, right you know, it's you know, I can 857 00:44:13,800 --> 00:44:16,080 Speaker 4: also get the other side from the studio, which at 858 00:44:16,160 --> 00:44:18,080 Speaker 4: time studio might get paid more than the mixture. 859 00:44:18,640 --> 00:44:21,160 Speaker 5: Is somebody telling you this or are you observing? And 860 00:44:21,880 --> 00:44:23,160 Speaker 5: just as a hustler, like. 861 00:44:23,239 --> 00:44:25,120 Speaker 4: I'm looking it don't make sense, it don't make it. 862 00:44:25,160 --> 00:44:27,160 Speaker 4: I'm looking at it because I'm the one that's connecting 863 00:44:27,200 --> 00:44:29,160 Speaker 4: the I'm the one that client books me. I'm the 864 00:44:29,200 --> 00:44:31,239 Speaker 4: one connecting the client with the studio. I'm in the 865 00:44:31,280 --> 00:44:33,960 Speaker 4: email seeing it. I'm like, I'm just why. I just 866 00:44:33,960 --> 00:44:36,400 Speaker 4: imagine sitting in traffic. All these buses are just driving 867 00:44:36,440 --> 00:44:38,399 Speaker 4: by you, and I'm just trying to catch each one, 868 00:44:38,680 --> 00:44:40,640 Speaker 4: and I'm you know, I'm like, Okay, something's got a change, 869 00:44:40,680 --> 00:44:42,839 Speaker 4: you know, and it's you know, uh, They're probably one 870 00:44:42,840 --> 00:44:44,120 Speaker 4: of the smartest decisions I ever made. 871 00:44:44,280 --> 00:44:46,960 Speaker 2: Yeah, you know, you know, it's crazy. We had a 872 00:44:47,040 --> 00:44:49,719 Speaker 2: room there. Yeah, we had a roommate. Can we had 873 00:44:49,760 --> 00:44:50,040 Speaker 2: a whole. 874 00:44:52,080 --> 00:44:56,080 Speaker 1: Yeah, we had we had the off side. 875 00:44:56,120 --> 00:44:57,920 Speaker 4: It was we had the right side. 876 00:44:58,000 --> 00:44:58,960 Speaker 1: Yeah, because you know it's. 877 00:44:58,960 --> 00:45:01,160 Speaker 4: The main build the two there's too, so there's there's 878 00:45:01,200 --> 00:45:03,560 Speaker 4: two sides. There's the front side in the backside. Uh, 879 00:45:03,680 --> 00:45:07,919 Speaker 4: and then we have the backside. We actually did yeah, yeah, Yeah. 880 00:45:07,960 --> 00:45:12,799 Speaker 4: The history goes back, I think, because I would say 881 00:45:12,800 --> 00:45:14,759 Speaker 4: going back to the seventies to the eighties. When I open, 882 00:45:14,800 --> 00:45:17,000 Speaker 4: you got everything from guns and guns and Roses, Aerosmith, 883 00:45:17,040 --> 00:45:19,600 Speaker 4: Pink Floyd. Yeah. Right then you got the Michael Jackson's, 884 00:45:19,600 --> 00:45:21,880 Speaker 4: you got Whitney Houston's, you got the Mary J. Blige, 885 00:45:21,880 --> 00:45:26,000 Speaker 4: you got Maria carey you got Janet right, and then 886 00:45:26,040 --> 00:45:28,960 Speaker 4: it just continues right, you know, so you know it's 887 00:45:29,080 --> 00:45:30,719 Speaker 4: it's the energy is real. 888 00:45:31,239 --> 00:45:32,759 Speaker 1: Did you keep the name? Canm are you? 889 00:45:32,800 --> 00:45:47,799 Speaker 4: No? We changing No Name Studios, No Name Studios. Uh, 890 00:45:48,160 --> 00:45:49,799 Speaker 4: you know, you know I have, I have, you know, 891 00:45:49,880 --> 00:45:52,920 Speaker 4: a conglomerate of of companies under the No Name group umbrella. 892 00:45:53,880 --> 00:45:55,799 Speaker 4: You know, No Name Recordings is a label that you know, 893 00:45:55,800 --> 00:45:58,840 Speaker 4: we also found it during the pandemic where you know, 894 00:45:59,520 --> 00:46:02,960 Speaker 4: the whole idea of it is just you know, ecosystem, 895 00:46:03,000 --> 00:46:06,520 Speaker 4: just develop an ecosystem, watching you know, the top dogs, 896 00:46:06,520 --> 00:46:10,160 Speaker 4: watching the day freeze, watching how everyone operates, and it's like, okay, 897 00:46:10,239 --> 00:46:13,560 Speaker 4: the formula is ecosystem, right, the formula is fully vertical integrated. 898 00:46:14,360 --> 00:46:16,400 Speaker 4: And that's what spawned that final piece of the puzzle, 899 00:46:16,400 --> 00:46:19,640 Speaker 4: which is the platform, right, providing a technical solution to 900 00:46:19,680 --> 00:46:23,200 Speaker 4: allow you know, this creativity to you know, be multiplied 901 00:46:23,280 --> 00:46:26,840 Speaker 4: right and scaled up globally. How many artists do you have? 902 00:46:27,760 --> 00:46:30,719 Speaker 4: So at the moment, the label there's no artists. You know, 903 00:46:31,160 --> 00:46:33,800 Speaker 4: we look at that as as so the way we 904 00:46:33,840 --> 00:46:36,319 Speaker 4: look at the label is creating. Uh, you know, my 905 00:46:36,360 --> 00:46:38,160 Speaker 4: whole thing I've had the artist thing, you know I've 906 00:46:38,200 --> 00:46:40,239 Speaker 4: done that, and you know, I was excited to have 907 00:46:40,320 --> 00:46:42,040 Speaker 4: and it was a fucking headache. I'm gonna keep it 908 00:46:42,080 --> 00:46:43,799 Speaker 4: real with you. Havn't having you know, it was it 909 00:46:43,880 --> 00:46:49,680 Speaker 4: was just my experience, you know what I'm saying, experience. 910 00:46:50,680 --> 00:46:53,840 Speaker 4: Now they're on the same page, but you know, the 911 00:46:53,840 --> 00:46:55,839 Speaker 4: fucking journey was. You know, it's I'm never gonna work 912 00:46:55,840 --> 00:46:57,799 Speaker 4: harder than somebody you know on their own ship. You know, 913 00:46:57,920 --> 00:46:59,480 Speaker 4: that's one of the main things, one of the main 914 00:47:00,360 --> 00:47:02,479 Speaker 4: asks that I have with anybody that you know wants 915 00:47:02,520 --> 00:47:05,400 Speaker 4: to know participate in what we have going on. And 916 00:47:05,440 --> 00:47:07,640 Speaker 4: then you know, it's it's it's accountability. It's a big 917 00:47:07,680 --> 00:47:09,320 Speaker 4: thing for me, you know. And you can't expect the 918 00:47:09,360 --> 00:47:11,160 Speaker 4: world if you know, you don't want to get at 919 00:47:11,160 --> 00:47:16,080 Speaker 4: a bed, you know, So you saying ought to say this. 920 00:47:16,200 --> 00:47:18,279 Speaker 4: You know, with every other business that you know that 921 00:47:18,360 --> 00:47:20,359 Speaker 4: I have, I can control the product, you know, And 922 00:47:20,360 --> 00:47:22,560 Speaker 4: it's you know when it comes to you know, working 923 00:47:22,600 --> 00:47:24,799 Speaker 4: with the artists at the product of that song, right 924 00:47:24,840 --> 00:47:26,440 Speaker 4: and and I'm trying to create a safe place for 925 00:47:26,480 --> 00:47:29,600 Speaker 4: this for this artist to create and develop their their sound, 926 00:47:29,680 --> 00:47:32,480 Speaker 4: and there's nothing being created to control, right, It's a 927 00:47:32,560 --> 00:47:35,600 Speaker 4: net negative in my opinion. Right, So with the label, 928 00:47:35,719 --> 00:47:39,239 Speaker 4: you know, we're doing more of compilation projects you know, 929 00:47:40,000 --> 00:47:41,640 Speaker 4: where you know, we do these jam sessions on a 930 00:47:41,640 --> 00:47:45,080 Speaker 4: weekly basis. You know, we have musicians, artists, producers come 931 00:47:45,120 --> 00:47:47,560 Speaker 4: by where you know, we open up the space. We 932 00:47:47,600 --> 00:47:51,759 Speaker 4: create these all again friends of ours, you know, incredible producers, artists, songwriters, 933 00:47:51,760 --> 00:47:54,200 Speaker 4: et cetera. I mean with that, you know, we we 934 00:47:54,239 --> 00:47:55,799 Speaker 4: take those songs and you know, we send them out 935 00:47:55,800 --> 00:47:57,800 Speaker 4: to other artists that are working on projects for placements, 936 00:47:58,880 --> 00:48:00,560 Speaker 4: you know. And another part of is we're doing a 937 00:48:00,600 --> 00:48:05,880 Speaker 4: compilation project where we take those compilation projects, we upstream 938 00:48:05,960 --> 00:48:09,560 Speaker 4: them to the Engineer's platform because we just launched a 939 00:48:09,640 --> 00:48:13,040 Speaker 4: director consumer offering for artists to sell their music director 940 00:48:13,040 --> 00:48:15,320 Speaker 4: to super fans. And it's going to end with a 941 00:48:15,440 --> 00:48:18,239 Speaker 4: concert series that we can rinse and repeat every quarter. 942 00:48:18,480 --> 00:48:20,240 Speaker 1: And said, and that's under Engineers. 943 00:48:19,800 --> 00:48:21,800 Speaker 4: That's under no Name recording, under no Name recording. 944 00:48:22,160 --> 00:48:23,279 Speaker 1: So what is engineers? 945 00:48:23,400 --> 00:48:26,160 Speaker 4: So engineers, you know, so essentially, you know, as an 946 00:48:26,160 --> 00:48:30,200 Speaker 4: audio engineer, you know, growing my business, you know, didn't 947 00:48:30,200 --> 00:48:32,680 Speaker 4: have any formal training on the business side of the ship, 948 00:48:33,360 --> 00:48:36,680 Speaker 4: the admin side of you know, maintaining relationships, payments, invoices. 949 00:48:37,280 --> 00:48:39,279 Speaker 4: You know, I realized as time you know, went on 950 00:48:39,320 --> 00:48:41,960 Speaker 4: in my career that you know, it's becoming a headache 951 00:48:41,960 --> 00:48:43,879 Speaker 4: trying to deal with it though. Right I'm losing money 952 00:48:43,920 --> 00:48:45,640 Speaker 4: on the table because I'm not invoicing, or I'm not 953 00:48:46,000 --> 00:48:48,480 Speaker 4: catching up to these invoices that are ninety days behind, 954 00:48:48,600 --> 00:48:52,239 Speaker 4: or it's hard to manage and maintain clientele as I'm 955 00:48:52,280 --> 00:48:54,600 Speaker 4: working on one album, but I got fifteen people emailing 956 00:48:54,600 --> 00:48:57,080 Speaker 4: me to book a project. Right, So you know, we 957 00:48:57,160 --> 00:48:59,279 Speaker 4: decided to build a platform called Engineers that you know 958 00:48:59,360 --> 00:49:02,560 Speaker 4: provided those like streamlined business solutions, so you know, think 959 00:49:02,640 --> 00:49:04,960 Speaker 4: LinkedIn for the music industry. Right, I create a profile, 960 00:49:05,800 --> 00:49:08,240 Speaker 4: you know, I can host, I can upload all my credits, 961 00:49:08,280 --> 00:49:11,080 Speaker 4: my credentials. How many Grammys, how many you know, ri 962 00:49:11,200 --> 00:49:14,040 Speaker 4: A certifications do I have? I could put bios photos. 963 00:49:14,200 --> 00:49:15,399 Speaker 1: You'll be doing that all day, brother. 964 00:49:15,680 --> 00:49:19,880 Speaker 4: You know, we cap it at a certain numb but 965 00:49:19,960 --> 00:49:23,800 Speaker 4: we also allow Engineering myself to host and solicit services. 966 00:49:23,800 --> 00:49:25,360 Speaker 4: So we have you know, the ability for me to 967 00:49:25,400 --> 00:49:29,239 Speaker 4: host a mixing package or Adobe atmost mixing package. We're 968 00:49:29,280 --> 00:49:31,680 Speaker 4: an external client, an artist that wants to work with 969 00:49:31,760 --> 00:49:33,600 Speaker 4: me when they DM me, Hey, Ali, I want to 970 00:49:33,640 --> 00:49:35,000 Speaker 4: work with you on X, Y and Z. I could 971 00:49:35,000 --> 00:49:37,279 Speaker 4: just send them my u ur L to my link 972 00:49:37,560 --> 00:49:40,880 Speaker 4: has all the information on you know, the packages that 973 00:49:40,880 --> 00:49:44,040 Speaker 4: I'm offering, the mixing, mastering or Adobe atmast packages. They 974 00:49:44,040 --> 00:49:47,160 Speaker 4: could book me instantly and the platform walks them through 975 00:49:47,560 --> 00:49:50,279 Speaker 4: a workflow that go between the artists and engineer up 976 00:49:50,320 --> 00:49:53,799 Speaker 4: until completion, so we ensure engineers and studios get paid 977 00:49:53,800 --> 00:49:58,960 Speaker 4: on time. The file transfer, the transparency on communications between 978 00:49:59,000 --> 00:50:01,560 Speaker 4: your client as well as credits. 979 00:50:01,120 --> 00:50:03,080 Speaker 1: And that's incredible. 980 00:50:03,120 --> 00:50:05,279 Speaker 4: Yeah, So through that we raised about ten million dollars 981 00:50:05,320 --> 00:50:10,439 Speaker 4: to day with that platform. Y yeah, man, yes, yeah. 982 00:50:10,480 --> 00:50:14,600 Speaker 4: And then we also but it's been a journey, man. 983 00:50:14,640 --> 00:50:17,800 Speaker 4: We just launched a director consumer you know, offerings for artists, 984 00:50:17,800 --> 00:50:20,759 Speaker 4: so you know, and the artists can come, you know, 985 00:50:20,760 --> 00:50:23,320 Speaker 4: book a studio like Airbnb. Right, we have over fifty 986 00:50:23,360 --> 00:50:26,839 Speaker 4: thousand profiles globally. They can go through their flow. Once 987 00:50:26,960 --> 00:50:28,600 Speaker 4: the studio sessions are done, they want to get their 988 00:50:28,600 --> 00:50:31,120 Speaker 4: songs mixed the master. They can use the platform to 989 00:50:31,160 --> 00:50:34,239 Speaker 4: facilitator and manage those projects. And then once they're done 990 00:50:34,239 --> 00:50:36,839 Speaker 4: with their projects, they can one click distribute to any 991 00:50:36,920 --> 00:50:39,319 Speaker 4: DSP or sell direct to a sob're fan on. 992 00:50:39,320 --> 00:50:42,080 Speaker 1: Their profiles and what's and what's that website. 993 00:50:41,680 --> 00:50:46,360 Speaker 4: Or app engineers dot com engineers dot com dot com? 994 00:50:46,440 --> 00:50:48,040 Speaker 1: Yeah, yeah, yeah, yeah. 995 00:50:48,440 --> 00:50:51,520 Speaker 2: You know, we have so many subscribers and people that 996 00:50:51,640 --> 00:50:54,200 Speaker 2: watch our show that are trying to find their way 997 00:50:54,440 --> 00:50:56,680 Speaker 2: within this industry, you know what I mean. And that's 998 00:50:56,719 --> 00:51:00,120 Speaker 2: that's been so important for us to be a a 999 00:51:00,160 --> 00:51:03,680 Speaker 2: safe place not only for our guests but for our audience. 1000 00:51:04,160 --> 00:51:06,960 Speaker 1: We don't bring bullshit is on here, you know what 1001 00:51:07,000 --> 00:51:07,239 Speaker 1: I mean. 1002 00:51:07,280 --> 00:51:10,680 Speaker 2: We bring people who are really seeing the future in 1003 00:51:10,719 --> 00:51:13,000 Speaker 2: this music business and trying to help. 1004 00:51:13,160 --> 00:51:15,640 Speaker 4: It's how we look at it because again, the fear 1005 00:51:15,680 --> 00:51:18,960 Speaker 4: of like going from like you know, you know, one 1006 00:51:18,960 --> 00:51:21,280 Speaker 4: of the top engineers in the world to now shifting 1007 00:51:21,320 --> 00:51:23,960 Speaker 4: into like music tech or just technology. I didn't know 1008 00:51:23,960 --> 00:51:25,719 Speaker 4: what the fuck I was doing to start, you know, 1009 00:51:25,760 --> 00:51:27,400 Speaker 4: and that fear was real because I'm like, I'm like, 1010 00:51:27,480 --> 00:51:29,000 Speaker 4: I'm at the top of my game and I'm about 1011 00:51:29,040 --> 00:51:32,560 Speaker 4: to start over, right, you know. But then it goes 1012 00:51:32,600 --> 00:51:35,040 Speaker 4: back to something I said earlier, is like being uncomfortable. 1013 00:51:35,440 --> 00:51:37,680 Speaker 4: You know. It's like like I thrive on being uncomfortable 1014 00:51:37,680 --> 00:51:39,719 Speaker 4: because you know, you're growing at that point, you know, 1015 00:51:39,840 --> 00:51:42,160 Speaker 4: and you know, it's again one of the best decisions 1016 00:51:42,200 --> 00:51:45,320 Speaker 4: I made because now my legacy now lives through millions 1017 00:51:45,320 --> 00:51:47,479 Speaker 4: of other creators using the platform that we build based 1018 00:51:47,480 --> 00:51:51,000 Speaker 4: on my journey and experience. You know. So it's doing, 1019 00:51:51,040 --> 00:51:54,160 Speaker 4: it's doing fantastic right now. You know again, we got 1020 00:51:54,160 --> 00:51:56,040 Speaker 4: you know users all of the world, you know, partnerships 1021 00:51:56,040 --> 00:51:58,840 Speaker 4: with the Universal Music Group where we're expraditing payments right, 1022 00:51:58,960 --> 00:52:03,239 Speaker 4: no more unimportant, yeah, okay. And then even for the 1023 00:52:03,239 --> 00:52:07,200 Speaker 4: studio bookings you know, uh, you know again offering solutions 1024 00:52:07,200 --> 00:52:09,480 Speaker 4: similar to Airbnb where you could book hourly session time. 1025 00:52:11,160 --> 00:52:13,239 Speaker 4: And we're excited about these new offerings again that are 1026 00:52:13,239 --> 00:52:16,040 Speaker 4: coming for artists to allow them to you know, distribute 1027 00:52:16,040 --> 00:52:19,480 Speaker 4: their music to any DSP with favorable payouts compared to 1028 00:52:19,520 --> 00:52:24,000 Speaker 4: other independent distributors, as well as direct to consumer offerings 1029 00:52:24,239 --> 00:52:28,520 Speaker 4: sub merchandise, digital downloads, vinyls, et cetera. So you know, 1030 00:52:28,600 --> 00:52:30,799 Speaker 4: the goal for us at scale is, uh, we want 1031 00:52:30,800 --> 00:52:33,160 Speaker 4: to build the operating system of the music industry. 1032 00:52:33,200 --> 00:52:35,720 Speaker 1: The future, the future. 1033 00:52:35,760 --> 00:52:39,719 Speaker 5: You just you just you leveraged you know what I mean, 1034 00:52:40,719 --> 00:52:44,200 Speaker 5: you just leveraged the greatness and you took a step, 1035 00:52:44,520 --> 00:52:50,640 Speaker 5: like a big step in betting on yourself and the 1036 00:52:50,680 --> 00:52:52,160 Speaker 5: big thing, big. 1037 00:52:51,880 --> 00:52:55,600 Speaker 4: Thing betting on yourself. I think, excuse me, I think 1038 00:52:55,640 --> 00:52:57,880 Speaker 4: you know a lot of people, you know, fear change 1039 00:52:58,160 --> 00:53:00,440 Speaker 4: or fear betting on themselves because they can't come a 1040 00:53:00,560 --> 00:53:04,080 Speaker 4: change for this negative a positive. But like everything is 1041 00:53:04,120 --> 00:53:06,840 Speaker 4: a test man, you're going to be hit with, you know, 1042 00:53:07,000 --> 00:53:08,520 Speaker 4: all type of shit. It's like how you're going to 1043 00:53:08,560 --> 00:53:12,200 Speaker 4: react when it comes, you know. And you know again, 1044 00:53:12,280 --> 00:53:15,080 Speaker 4: I speak on this often because I'm no different from 1045 00:53:15,120 --> 00:53:17,400 Speaker 4: any other kid that is in the hood or anywhere 1046 00:53:17,560 --> 00:53:20,040 Speaker 4: just thinking that they can't you know, do specific things. 1047 00:53:20,080 --> 00:53:22,759 Speaker 4: It's just do it, you know, start somewhere. And you 1048 00:53:22,800 --> 00:53:25,680 Speaker 4: said leveraging everything that I've You're right, Like I didn't 1049 00:53:25,719 --> 00:53:28,000 Speaker 4: start a restaurant. I didn't go you know what I'm saying. 1050 00:53:28,200 --> 00:53:30,920 Speaker 4: I wanted to do something that I'm great at based 1051 00:53:30,960 --> 00:53:35,040 Speaker 4: on you know, how I got here. It worked, right, 1052 00:53:35,239 --> 00:53:38,120 Speaker 4: and now that's let's automate that. Yeah, you know, yeah, 1053 00:53:38,480 --> 00:53:40,520 Speaker 4: And it just showed that it's another one of us 1054 00:53:40,520 --> 00:53:43,120 Speaker 4: that look like us doing it, not somebody in Silicon 1055 00:53:43,239 --> 00:53:46,040 Speaker 4: Valley in a fifty story building, you know, telling us 1056 00:53:46,120 --> 00:53:48,360 Speaker 4: that you know the cost of music creation is nothing, 1057 00:53:48,400 --> 00:53:51,640 Speaker 4: you know, but it's still it's still also maximizing, right, 1058 00:53:52,040 --> 00:53:57,120 Speaker 4: you know, with within the space, you know, the leverage, 1059 00:53:57,120 --> 00:54:04,080 Speaker 4: the taking it to the quote unquote Silicon Valley aspect 1060 00:54:04,160 --> 00:54:08,600 Speaker 4: of it. But it's still very much in your wheelhouse. 1061 00:54:09,360 --> 00:54:12,680 Speaker 4: And it's like, how do I how do I ten 1062 00:54:12,880 --> 00:54:17,880 Speaker 4: x twenty x what I already know? Like, there's gotta 1063 00:54:17,960 --> 00:54:22,359 Speaker 4: be framework that takes it outside of this, that takes 1064 00:54:22,400 --> 00:54:25,640 Speaker 4: it outside of me, right, And you know what that was, 1065 00:54:25,719 --> 00:54:27,600 Speaker 4: And I'm sorry I couldn't know, you good. What that 1066 00:54:27,800 --> 00:54:31,279 Speaker 4: was was realizing that I'm not the only one dealing 1067 00:54:31,360 --> 00:54:35,040 Speaker 4: with not getting paid on time, realizing that I'm not 1068 00:54:35,080 --> 00:54:37,160 Speaker 4: the only one getting ten emails sent to me for 1069 00:54:37,239 --> 00:54:39,680 Speaker 4: a mix to mix one song, and I'm spending more 1070 00:54:39,680 --> 00:54:43,160 Speaker 4: time deconstructing these files rather than you know, spending more 1071 00:54:43,160 --> 00:54:46,160 Speaker 4: time on the creativity or not getting credited or you know, 1072 00:54:46,760 --> 00:54:48,879 Speaker 4: not getting fucking again going back to the payment side 1073 00:54:48,880 --> 00:54:51,440 Speaker 4: of things. So, you know, and we learned that through workshops. 1074 00:54:51,440 --> 00:54:53,880 Speaker 4: So before we had a platform, before we even had 1075 00:54:53,880 --> 00:54:57,400 Speaker 4: a platform, I did workshops. I reached this in twenty seventeen. 1076 00:54:57,440 --> 00:55:00,279 Speaker 4: I reached this brick wall where I was uninspired, like 1077 00:55:00,360 --> 00:55:03,560 Speaker 4: you know, I was out partying heavy, you know, and 1078 00:55:04,160 --> 00:55:14,440 Speaker 4: I was at this point that yeah, that's always you 1079 00:55:14,520 --> 00:55:16,520 Speaker 4: know what I'm saying out. But it was like during 1080 00:55:16,520 --> 00:55:18,840 Speaker 4: this time, man, it was like I just and you know, 1081 00:55:18,880 --> 00:55:21,080 Speaker 4: I gracefully say that I didn't understand like why the 1082 00:55:21,080 --> 00:55:22,960 Speaker 4: funk will have all the success? Right? It was like 1083 00:55:23,000 --> 00:55:24,680 Speaker 4: it was a weird moment for me, you know, because 1084 00:55:24,680 --> 00:55:27,680 Speaker 4: it came so fast, and it wasn't until I started 1085 00:55:27,760 --> 00:55:31,160 Speaker 4: educating and teaching and doing these workshops that kind of 1086 00:55:31,160 --> 00:55:33,319 Speaker 4: gave me more like inspiration to kind of continue because 1087 00:55:33,320 --> 00:55:34,560 Speaker 4: I'm like, yo, this, I see a lot of me 1088 00:55:34,600 --> 00:55:36,960 Speaker 4: and all these people I come across. So before we 1089 00:55:37,000 --> 00:55:39,840 Speaker 4: had the Engineer's platform, I launched this series called Seeing 1090 00:55:39,880 --> 00:55:43,160 Speaker 4: Sounds Workshops where that yeaeah, so we you know, I 1091 00:55:43,160 --> 00:55:45,480 Speaker 4: went to the ICMS, I went to William Morris, I said, hey, 1092 00:55:45,480 --> 00:55:47,719 Speaker 4: I got an idea to go on tour as an 1093 00:55:47,719 --> 00:55:51,080 Speaker 4: engineer and do these fucking workshops. The nah, I don't 1094 00:55:51,080 --> 00:55:53,840 Speaker 4: see the value. I'm like, all right, bet So I 1095 00:55:53,880 --> 00:55:55,719 Speaker 4: did pre sell tickets and sold out. I think we 1096 00:55:55,760 --> 00:55:58,160 Speaker 4: did like a half a million in like six weeks 1097 00:55:58,160 --> 00:56:01,239 Speaker 4: in pre sell tickets. We used that to go, We 1098 00:56:01,360 --> 00:56:03,000 Speaker 4: used that to go and rent the venues like We 1099 00:56:03,000 --> 00:56:05,240 Speaker 4: did everything to ourselves. We ran the venues across the globe. 1100 00:56:05,239 --> 00:56:07,279 Speaker 4: We did fucking Tokyo, we did Korea. 1101 00:56:07,440 --> 00:56:09,040 Speaker 1: Had you even been to these places before this? 1102 00:56:09,200 --> 00:56:09,239 Speaker 5: No? 1103 00:56:09,320 --> 00:56:10,960 Speaker 4: I mean I've been there as a DJ DJ for 1104 00:56:11,000 --> 00:56:12,960 Speaker 4: Kendrick through all this ship too. Okay, So I went out. 1105 00:56:13,000 --> 00:56:14,239 Speaker 4: But you know, when you're on tour, you don't get 1106 00:56:14,239 --> 00:56:15,759 Speaker 4: to see nothing, right, You're in the bus or the 1107 00:56:15,760 --> 00:56:17,719 Speaker 4: hotel and you're off to the next Well, I. 1108 00:56:18,320 --> 00:56:22,600 Speaker 1: Go walk around, take us. He's always like, Jay, did 1109 00:56:22,640 --> 00:56:24,160 Speaker 1: you walk in the city? 1110 00:56:24,960 --> 00:56:25,080 Speaker 4: Got? 1111 00:56:25,640 --> 00:56:28,080 Speaker 1: I just walked around. I just want to see. 1112 00:56:27,960 --> 00:56:30,920 Speaker 4: Right, man. That was I was so tired, man as Man, 1113 00:56:31,440 --> 00:56:32,719 Speaker 4: I'm on the phone my girl, like you know what 1114 00:56:32,719 --> 00:56:34,120 Speaker 4: I'm saying. I'm like, I gotta, you know, I gotta. 1115 00:56:35,239 --> 00:56:36,160 Speaker 4: But uh yes, we. 1116 00:56:36,120 --> 00:56:40,080 Speaker 2: Did the workshops and you so did you have Did 1117 00:56:40,080 --> 00:56:42,040 Speaker 2: you have connections in these places? 1118 00:56:42,120 --> 00:56:42,400 Speaker 4: Yeah? 1119 00:56:42,600 --> 00:56:44,440 Speaker 1: From that tour or from tours or no? 1120 00:56:44,440 --> 00:56:46,480 Speaker 4: No, no. So I literally went on like like their 1121 00:56:46,560 --> 00:56:50,360 Speaker 4: versions of like a pier space. I found venues, warehouses. Yeah. 1122 00:56:50,440 --> 00:56:52,400 Speaker 4: And by this time, like you know, we had you know, 1123 00:56:52,440 --> 00:56:55,600 Speaker 4: twenty thirty thousand on Instagram, like you know, as you know, following, 1124 00:56:56,480 --> 00:56:57,920 Speaker 4: and we just did pre cell tickets. You know, we 1125 00:56:57,960 --> 00:56:59,400 Speaker 4: did them at a premium, right, it was just a 1126 00:56:59,440 --> 00:57:00,440 Speaker 4: thousand dollars a seat. 1127 00:57:01,400 --> 00:57:01,600 Speaker 5: You know. 1128 00:57:02,360 --> 00:57:04,560 Speaker 4: It was a full day experience, right, you know, with 1129 00:57:05,080 --> 00:57:07,600 Speaker 4: again thousands of dollars a giveaways small of our sponsors, 1130 00:57:08,400 --> 00:57:10,279 Speaker 4: but doing these workshops on the world, right, you know, 1131 00:57:10,320 --> 00:57:13,080 Speaker 4: we did we left questionnaires for all of our attendees 1132 00:57:14,000 --> 00:57:15,920 Speaker 4: asking like, he has a small business, like what are 1133 00:57:15,960 --> 00:57:17,720 Speaker 4: some of the issues you deal with in real time? 1134 00:57:18,720 --> 00:57:21,080 Speaker 4: And again after that the pandemic hit and we were 1135 00:57:21,120 --> 00:57:23,560 Speaker 4: forced to look at the information that we gather and 1136 00:57:23,560 --> 00:57:25,400 Speaker 4: it's like, fuck, it's not just the inspiration and the 1137 00:57:25,520 --> 00:57:28,440 Speaker 4: education that we're providing, you know with this workshop, it's 1138 00:57:28,440 --> 00:57:30,440 Speaker 4: the business to us and that's what promted us to 1139 00:57:30,440 --> 00:57:34,400 Speaker 4: go and build the platform, you know, and continue that way. 1140 00:57:34,480 --> 00:57:37,560 Speaker 2: So you know, the cool part for me, Bro, honestly 1141 00:57:37,760 --> 00:57:43,320 Speaker 2: is you created a solution. Because everybody has an opinion, 1142 00:57:44,080 --> 00:57:46,600 Speaker 2: and everybody can tell you what's wrong, This is wrong, 1143 00:57:46,640 --> 00:57:49,120 Speaker 2: and that's wrong. Okay, so what the fuck are you? 1144 00:57:49,160 --> 00:57:53,280 Speaker 2: We are not just you? We going to do about it? 1145 00:57:54,480 --> 00:57:58,080 Speaker 2: What is the solution to these problems that we're having 1146 00:57:58,840 --> 00:58:02,680 Speaker 2: that make our business just run so much smoother? Because 1147 00:58:02,760 --> 00:58:04,760 Speaker 2: I think the other part, too, is people get caught 1148 00:58:04,840 --> 00:58:08,120 Speaker 2: up in I say this a lot, man, there's just 1149 00:58:08,160 --> 00:58:10,320 Speaker 2: certain people who would rather complain. 1150 00:58:11,840 --> 00:58:13,240 Speaker 1: Then actually do something else. 1151 00:58:13,240 --> 00:58:14,840 Speaker 4: I think they want things to be wrong to. 1152 00:58:14,880 --> 00:58:18,120 Speaker 2: Complain, yeah, because honestly they're scared a lot of times 1153 00:58:18,160 --> 00:58:20,960 Speaker 2: they're scared. And and and then the other side of 1154 00:58:21,000 --> 00:58:26,120 Speaker 2: that is people feeling like, well, it's just wolves anyway, 1155 00:58:26,160 --> 00:58:28,520 Speaker 2: and it's just fucked up people and the devils and this, 1156 00:58:28,560 --> 00:58:31,160 Speaker 2: that and the other. More so than saying, hey, I 1157 00:58:31,200 --> 00:58:35,200 Speaker 2: actually didn't turn my shit in. That's why you didn't 1158 00:58:35,240 --> 00:58:39,120 Speaker 2: get paid or credited. Are now you want to try 1159 00:58:39,160 --> 00:58:42,360 Speaker 2: to sue somebody? How about they might not even known 1160 00:58:42,480 --> 00:58:43,880 Speaker 2: your ass was on the song. 1161 00:58:44,560 --> 00:58:46,160 Speaker 4: And that's trying to figure that out first. 1162 00:58:46,440 --> 00:58:48,760 Speaker 5: And I'm not even signed up with a cap I'm 1163 00:58:48,760 --> 00:58:51,560 Speaker 5: not signed up with it. I don't know about all 1164 00:58:51,600 --> 00:58:54,160 Speaker 5: of the creators that don't know that, right. Like we're 1165 00:58:54,200 --> 00:58:58,760 Speaker 5: all small businesses, right, all of us, right, But there's 1166 00:58:58,840 --> 00:59:01,320 Speaker 5: never been a tool right that show us what the 1167 00:59:01,360 --> 00:59:02,120 Speaker 5: fuck needs to be done? 1168 00:59:02,200 --> 00:59:05,360 Speaker 4: Right. You're expected to learn all these things right, right, 1169 00:59:05,440 --> 00:59:07,320 Speaker 4: and you go back to the solution, right, you're one 1170 00:59:07,360 --> 00:59:09,680 Speaker 4: hundred percent right, right? And you know, yes, we started 1171 00:59:09,720 --> 00:59:12,680 Speaker 4: with audio engineers, right, the people that you know historically 1172 00:59:12,720 --> 00:59:15,520 Speaker 4: have never been given a flag to fucking wave right. 1173 00:59:15,600 --> 00:59:17,440 Speaker 4: And you know, this is why we're seeing early on 1174 00:59:17,600 --> 00:59:21,400 Speaker 4: this mass adoption of engineers on our platform signing up 1175 00:59:21,400 --> 00:59:24,440 Speaker 4: and becoming members, right, because they're finally seeing that solution 1176 00:59:24,520 --> 00:59:27,200 Speaker 4: to the problem. Right. But that's also enabling us to 1177 00:59:27,280 --> 00:59:31,640 Speaker 4: now scale up the vertical of creation audio engineers, recording studios, 1178 00:59:32,000 --> 00:59:35,320 Speaker 4: music distribution, and director consumer sales. Right because the audio 1179 00:59:35,400 --> 00:59:38,880 Speaker 4: engineers historically, or the conduit to the me we hold 1180 00:59:38,880 --> 00:59:42,000 Speaker 4: the relationships with the producers, with the artists themselves, with 1181 00:59:42,040 --> 00:59:45,000 Speaker 4: the managers, with the labels, with everybody, you know what 1182 00:59:45,080 --> 00:59:48,000 Speaker 4: I'm saying. So it's you know, why isn't that there is? 1183 00:59:48,400 --> 00:59:50,360 Speaker 4: Why is it that our tech stack is having to 1184 00:59:50,480 --> 00:59:55,280 Speaker 4: use Dropbox, cash, app, Venmo, quick books, invoices, Gmail, text message, 1185 00:59:55,520 --> 00:59:57,480 Speaker 4: you know, et cetera, et cetera. So if we build 1186 00:59:57,520 --> 01:00:00,959 Speaker 4: a tool where all engineers don't want to work nowhere 1187 01:00:01,000 --> 01:00:03,520 Speaker 4: us but our platform, naturally they're going to tell all 1188 01:00:03,560 --> 01:00:05,200 Speaker 4: of their artists, hey, I only want to work here, 1189 01:00:05,800 --> 01:00:07,200 Speaker 4: and they're going to bring on their artists, Hey, book 1190 01:00:07,240 --> 01:00:08,320 Speaker 4: me using this one here. 1191 01:00:08,480 --> 01:00:10,920 Speaker 1: Me here, because that makes it easier for them to right. 1192 01:00:11,240 --> 01:00:13,400 Speaker 4: So now that we've seen that, now, what's the next 1193 01:00:13,440 --> 01:00:16,000 Speaker 4: step providing these you know, distributions. Now that we're having 1194 01:00:16,120 --> 01:00:19,680 Speaker 4: artists naturally organically coming onto the platform, signing up, utilizing 1195 01:00:19,720 --> 01:00:23,160 Speaker 4: these tools, that's all for them what they're naturally doing 1196 01:00:23,200 --> 01:00:25,560 Speaker 4: once the project is done, which is download and go 1197 01:00:25,720 --> 01:00:29,000 Speaker 4: upload to another SoundCloud or you know, other distribts. So 1198 01:00:29,000 --> 01:00:30,760 Speaker 4: why don't we just do a one click distribution straight 1199 01:00:30,760 --> 01:00:34,360 Speaker 4: from their profiles? Right? So it's it's it's it's really 1200 01:00:34,440 --> 01:00:36,760 Speaker 4: you know, verticalizing creation as it should be, right, but 1201 01:00:36,920 --> 01:00:41,080 Speaker 4: starting with the artistic intention of music creation and then 1202 01:00:41,120 --> 01:00:43,800 Speaker 4: going into all the other admin tools. Right. So it's 1203 01:00:43,880 --> 01:00:44,720 Speaker 4: you know, it's. 1204 01:00:44,640 --> 01:00:46,560 Speaker 1: I can tell you've been speaking to brother. 1205 01:00:47,520 --> 01:00:51,160 Speaker 2: Yeah yeah, yeah, the world to you. 1206 01:00:56,480 --> 01:00:58,600 Speaker 4: It's it's you. You know what it is, ma, It's 1207 01:00:58,720 --> 01:01:02,880 Speaker 4: it's it's care like you know, it's absolutely passionate. You 1208 01:01:02,960 --> 01:01:05,480 Speaker 4: know what I'm saying is it's you know, uh, you know, 1209 01:01:05,520 --> 01:01:07,560 Speaker 4: I get these blackout moments to where like I could 1210 01:01:07,600 --> 01:01:10,000 Speaker 4: just go on these tangents like forever about what I built, 1211 01:01:10,040 --> 01:01:12,560 Speaker 4: but it's think about you know, it comes from nothing, bro, 1212 01:01:12,680 --> 01:01:13,960 Speaker 4: Like you know what I'm saying. And now you know, 1213 01:01:14,080 --> 01:01:16,280 Speaker 4: you know, we have our thirty employees you know where 1214 01:01:16,360 --> 01:01:19,280 Speaker 4: we're doing things in music tech just in general right 1215 01:01:19,360 --> 01:01:21,600 Speaker 4: that you know, people my age don't really accomplish like 1216 01:01:21,760 --> 01:01:24,000 Speaker 4: a large period of time, right, And I look at this, 1217 01:01:24,040 --> 01:01:25,640 Speaker 4: it's like inspiration to show other people like, man, if 1218 01:01:25,640 --> 01:01:27,120 Speaker 4: you got an idea, run with it, right. If you're 1219 01:01:27,200 --> 01:01:30,080 Speaker 4: if you're passionate about something, go for it, right because 1220 01:01:30,080 --> 01:01:32,320 Speaker 4: it's like you said, when you bet on your fucking self, right, 1221 01:01:32,400 --> 01:01:35,080 Speaker 4: that's when you reap all the benefits putting the time, 1222 01:01:35,360 --> 01:01:37,560 Speaker 4: putting the time. 1223 01:01:36,720 --> 01:01:39,680 Speaker 2: Because that's the other part, you know, especially in this 1224 01:01:39,840 --> 01:01:43,280 Speaker 2: in this generation, right especially because. 1225 01:01:42,920 --> 01:01:45,560 Speaker 1: They can there are they are one click away from. 1226 01:01:45,480 --> 01:01:47,400 Speaker 4: You kidding you know me ten year olds are killing 1227 01:01:47,440 --> 01:01:51,600 Speaker 4: it right now, just being you know, like you know 1228 01:01:51,960 --> 01:01:55,160 Speaker 4: Philly and all these crypto ship Absolutely, it's you know, 1229 01:01:55,280 --> 01:01:58,360 Speaker 4: it's it's it's you know, yeah man, but it's it. 1230 01:01:58,480 --> 01:02:01,200 Speaker 2: But it's the research. It's the research, and it's it's 1231 01:02:01,240 --> 01:02:04,440 Speaker 2: the understanding because you can get there, but you may 1232 01:02:04,440 --> 01:02:05,000 Speaker 2: not stay there. 1233 01:02:05,720 --> 01:02:08,640 Speaker 4: And that's the thing, you know what I'm saying, Yeah, man, 1234 01:02:08,840 --> 01:02:10,360 Speaker 4: staying there that's the hardest part. You know. 1235 01:02:10,360 --> 01:02:13,000 Speaker 2: It's easy to make a million dollars. Right, let's talk 1236 01:02:13,000 --> 01:02:15,840 Speaker 2: about your stay in power. Let's talk about the record, right, 1237 01:02:15,920 --> 01:02:18,120 Speaker 2: Let's talk about what gets you, you know, because you 1238 01:02:19,320 --> 01:02:21,680 Speaker 2: to where you are now, right, because that is not 1239 01:02:21,720 --> 01:02:24,520 Speaker 2: an overnight thing. That is absolutely not an overnight thing. 1240 01:02:24,600 --> 01:02:27,560 Speaker 2: Like you said, you and we both can attest to this. 1241 01:02:27,640 --> 01:02:29,560 Speaker 2: We both slept on the floor. We both we've both 1242 01:02:29,600 --> 01:02:32,200 Speaker 2: been in those trenches trying to figure out this whole 1243 01:02:32,280 --> 01:02:37,600 Speaker 2: music business thing. When y'all get good Kid Mass City 1244 01:02:38,960 --> 01:02:41,720 Speaker 2: and it's the massive success that it becomes, and you 1245 01:02:41,760 --> 01:02:43,040 Speaker 2: want to grammy off of that as well? 1246 01:02:43,120 --> 01:02:46,960 Speaker 4: Right man? Now that was the year, you know, blessed 1247 01:02:47,240 --> 01:02:48,840 Speaker 4: somebody Maclamore one that year? 1248 01:02:48,880 --> 01:02:52,320 Speaker 2: Okay, Okay, somebody else won that year. But so from 1249 01:02:52,360 --> 01:02:53,640 Speaker 2: no song at all? Did you when I want to 1250 01:02:53,640 --> 01:02:54,760 Speaker 2: grammy off for that album? 1251 01:02:54,920 --> 01:02:58,560 Speaker 4: Off of Yeah? Yeah, I think I the that was 1252 01:02:58,560 --> 01:03:01,160 Speaker 4: for the Pimpbofly. I think that that album. 1253 01:03:01,080 --> 01:03:04,160 Speaker 1: Any Grammys that as a song or nothing? 1254 01:03:04,240 --> 01:03:07,120 Speaker 4: I think like songwriter. I think like those individual like 1255 01:03:06,760 --> 01:03:09,240 Speaker 4: like feature Gund I think you might have won like 1256 01:03:09,280 --> 01:03:12,760 Speaker 4: one or two if I'm not mistaken. Okay, I think 1257 01:03:12,800 --> 01:03:15,200 Speaker 4: it was one of those like those widespread. 1258 01:03:14,560 --> 01:03:18,479 Speaker 2: Like yeah, somebody else gotta come yeah for that album 1259 01:03:18,680 --> 01:03:21,760 Speaker 2: right right, So but as you reaching this this very 1260 01:03:21,880 --> 01:03:25,360 Speaker 2: high level of success, Like what's going through your mind? 1261 01:03:25,400 --> 01:03:25,640 Speaker 1: Bro? 1262 01:03:25,880 --> 01:03:32,400 Speaker 2: Like from being in Carson on the floor twenty four 1263 01:03:32,440 --> 01:03:34,800 Speaker 2: hours a day, seven days a week to now it's 1264 01:03:34,840 --> 01:03:37,560 Speaker 2: like it's universally recognized, is praised. 1265 01:03:38,800 --> 01:03:40,120 Speaker 1: How does that feel for you? 1266 01:03:41,000 --> 01:03:43,160 Speaker 4: I mean at that moment, right, it didn't hit right 1267 01:03:43,160 --> 01:03:47,200 Speaker 4: because you know, first obviously you know personally, like you know, 1268 01:03:47,400 --> 01:03:49,600 Speaker 4: like bread wasn't coming in, like you know what I'm saying, your. 1269 01:03:49,480 --> 01:03:51,160 Speaker 1: First like getting to the bridge. 1270 01:03:51,200 --> 01:03:53,960 Speaker 4: Yet we were touring heavy because we were touring from 1271 01:03:54,160 --> 01:03:56,200 Speaker 4: Section eighty right, and I know the money from the 1272 01:03:56,240 --> 01:03:57,640 Speaker 4: tour was way better than you know what I'm saying, 1273 01:03:57,640 --> 01:03:59,400 Speaker 4: because you need time for the albums to bubble, right, 1274 01:03:59,520 --> 01:04:02,200 Speaker 4: you know what I'm saying. Like, you know, so you 1275 01:04:02,240 --> 01:04:04,200 Speaker 4: know we're still like we're back to work, right, and 1276 01:04:04,320 --> 01:04:06,520 Speaker 4: I think we're heavy on the tour. Kendrick is a 1277 01:04:06,560 --> 01:04:10,040 Speaker 4: touring artist, you know, from uh you know, going again, 1278 01:04:10,120 --> 01:04:11,880 Speaker 4: going back to you know the section Eddy, We toured 1279 01:04:11,880 --> 01:04:12,800 Speaker 4: the world and at. 1280 01:04:12,640 --> 01:04:14,600 Speaker 1: This point you're purely DJ. 1281 01:04:15,880 --> 01:04:18,320 Speaker 4: An engineer. But I'm I'm I'm purely just with with 1282 01:04:18,320 --> 01:04:20,800 Speaker 4: with Kendrick and t D. And everybody because we're all 1283 01:04:20,840 --> 01:04:23,760 Speaker 4: just traveling as a group. So yeah, i'mdjing because I 1284 01:04:23,800 --> 01:04:26,960 Speaker 4: knew the music and uh yeah, while we're on the road, 1285 01:04:27,000 --> 01:04:30,120 Speaker 4: the hotel setups like we did a lot of you know, 1286 01:04:30,560 --> 01:04:32,000 Speaker 4: butterfly like and hotel rooms. 1287 01:04:32,920 --> 01:04:38,880 Speaker 1: So you a DJ DJ? Are you a Jamie. 1288 01:04:43,200 --> 01:04:47,480 Speaker 4: Started promise? You remember the old school incidant replaced That's 1289 01:04:47,560 --> 01:04:51,040 Speaker 4: what that was. That was that right? But then over time, 1290 01:04:51,600 --> 01:04:53,760 Speaker 4: uh because again being on stage like we did a 1291 01:04:53,760 --> 01:05:01,400 Speaker 4: Coachella early, like, it's like you know you it's insane, right, 1292 01:05:01,480 --> 01:05:05,280 Speaker 4: it's crazy experience. But during that time, I had to 1293 01:05:05,400 --> 01:05:06,720 Speaker 4: learn that, you know what I'm saying, I had to 1294 01:05:06,800 --> 01:05:08,520 Speaker 4: learn at it and it was I think about an 1295 01:05:08,520 --> 01:05:10,280 Speaker 4: engineer stuck in the studio all day long. Now I 1296 01:05:10,280 --> 01:05:12,280 Speaker 4: got I can scream as loud as I fucking want to. 1297 01:05:12,720 --> 01:05:15,520 Speaker 4: You know. You know what I'm saying and what I'm drunk. 1298 01:05:15,720 --> 01:05:16,560 Speaker 4: You know, I have a little you know, I have 1299 01:05:16,560 --> 01:05:18,840 Speaker 4: a little drink too. I'm up there crazy, you know 1300 01:05:18,880 --> 01:05:22,760 Speaker 4: what I'm saying. The spirit is within me. Yeah, but 1301 01:05:22,920 --> 01:05:24,800 Speaker 4: it was you know, over time, like I started doing 1302 01:05:24,840 --> 01:05:28,800 Speaker 4: separate little after party DJ Gigsah, let me get I'm 1303 01:05:28,840 --> 01:05:31,840 Speaker 4: bombing it. Though I'll tell you a story. We're Australia, Bro, 1304 01:05:32,240 --> 01:05:35,280 Speaker 4: cammensity till we go to Australia. You know, I get 1305 01:05:35,280 --> 01:05:38,040 Speaker 4: booked for an after party, right a bag, one of 1306 01:05:38,040 --> 01:05:40,280 Speaker 4: the biggest bags that I made to DJ. I didn't 1307 01:05:40,280 --> 01:05:42,520 Speaker 4: know what the fuck I was doing. I'm talking. I 1308 01:05:42,520 --> 01:05:44,800 Speaker 4: went to the club. I gotta send you guys the 1309 01:05:44,880 --> 01:05:47,160 Speaker 4: flyer and I think I still have the video. It 1310 01:05:47,240 --> 01:05:50,200 Speaker 4: was so bad. I cleared the whole stage, the whole floor. 1311 01:05:50,800 --> 01:05:52,520 Speaker 4: I got on like a nine thirty to like a 1312 01:05:52,600 --> 01:05:54,600 Speaker 4: like a nine thirty to like eleven thirty slot. Bro. 1313 01:05:54,680 --> 01:05:57,080 Speaker 4: By the time eleven thirty came, Bros, And nobody left 1314 01:05:57,120 --> 01:06:00,560 Speaker 4: in the club. And at that point, but Nigga, my 1315 01:06:00,600 --> 01:06:02,800 Speaker 4: blends was ass like you know what I'm saying. I'm 1316 01:06:02,880 --> 01:06:05,280 Speaker 4: up there trying ship like I'm high five and the 1317 01:06:05,320 --> 01:06:07,280 Speaker 4: hommies in the back that time, figuring that we up 1318 01:06:08,080 --> 01:06:09,480 Speaker 4: like you know what I'm saying, Like you know, they 1319 01:06:09,560 --> 01:06:12,200 Speaker 4: tell you know, it was so bad. And I think 1320 01:06:12,240 --> 01:06:13,560 Speaker 4: that was a turning point where I was like, I 1321 01:06:13,600 --> 01:06:15,360 Speaker 4: gotta figure because I want to keep getting this check 1322 01:06:15,440 --> 01:06:17,040 Speaker 4: right here, you know, I gotta figure this from now. 1323 01:06:18,240 --> 01:06:20,600 Speaker 4: And you in a different countries, so that was the 1324 01:06:20,600 --> 01:06:23,400 Speaker 4: best part out here. I didn't have to worry about 1325 01:06:23,400 --> 01:06:25,400 Speaker 4: no one like, you know, putting me on Facebook. You 1326 01:06:25,440 --> 01:06:27,600 Speaker 4: know what I'm saying. It was like a little test 1327 01:06:27,640 --> 01:06:29,200 Speaker 4: I'm in the whole. I'm at the bottom of the map. 1328 01:06:30,000 --> 01:06:31,880 Speaker 4: Uh you know, I'm let me figure this out. But 1329 01:06:32,720 --> 01:06:34,440 Speaker 4: you know we did, man. You know. I got connected 1330 01:06:34,440 --> 01:06:36,520 Speaker 4: while I was in Australia, got connected with Siado. They're 1331 01:06:36,520 --> 01:06:39,800 Speaker 4: from Auckland, New Jersey. I'm in New Jersey, AuCl In, 1332 01:06:39,840 --> 01:06:43,160 Speaker 4: New Zealand, Zealand. They got me one of those the 1333 01:06:43,200 --> 01:06:45,280 Speaker 4: control of the controllers, you know, and I was on 1334 01:06:45,400 --> 01:06:47,920 Speaker 4: my way from there, you know. But again that gives 1335 01:06:47,920 --> 01:06:50,040 Speaker 4: a testament to like just always needed. If there's a 1336 01:06:50,080 --> 01:06:52,480 Speaker 4: part that needs to be played, I'll do it. I 1337 01:06:52,520 --> 01:06:54,000 Speaker 4: didn't know what I was doing DJ and I'm like, 1338 01:06:54,000 --> 01:06:55,320 Speaker 4: you know what, I'll do it. I know the music 1339 01:06:55,560 --> 01:06:57,120 Speaker 4: right And I feel. 1340 01:06:56,920 --> 01:07:00,120 Speaker 2: Like that's a big part of the TV six that 1341 01:07:00,320 --> 01:07:04,040 Speaker 2: story is everyone just playing service multiple part. 1342 01:07:04,120 --> 01:07:04,440 Speaker 4: Everybody. 1343 01:07:04,520 --> 01:07:05,919 Speaker 1: Everybody was a Swiss Army Knight. 1344 01:07:05,880 --> 01:07:07,240 Speaker 4: And that's what and that's what it needs to I 1345 01:07:07,280 --> 01:07:12,120 Speaker 4: think nowadays, man, it's too much what entitlement You would say, right, well, 1346 01:07:12,160 --> 01:07:14,320 Speaker 4: if there's a hole right there. Right, someone's just not 1347 01:07:14,400 --> 01:07:16,160 Speaker 4: going it's not my hole to feel like I'm gonna 1348 01:07:16,200 --> 01:07:18,320 Speaker 4: just keep It's like you need to be able to 1349 01:07:18,360 --> 01:07:20,200 Speaker 4: flow like water, right there is I remember tip you 1350 01:07:20,240 --> 01:07:21,800 Speaker 4: used to say, Man, there is no roles. Run this 1351 01:07:21,880 --> 01:07:24,800 Speaker 4: motherfucker like you know, I'm me personally, I'll go onto it. 1352 01:07:24,840 --> 01:07:27,400 Speaker 4: I'll be the DJ, I'll do security, right, you know 1353 01:07:27,440 --> 01:07:29,040 Speaker 4: what I'm saying, I'll do the tour. I picked the 1354 01:07:29,080 --> 01:07:31,840 Speaker 4: bag up like whatever, whatever it was, you know what 1355 01:07:31,840 --> 01:07:34,000 Speaker 4: I'm saying, And that that formula, I feel like is 1356 01:07:34,040 --> 01:07:36,120 Speaker 4: the recipe. Right. It's like when you got a group 1357 01:07:36,160 --> 01:07:39,720 Speaker 4: of individuals that the mission is all aligned, right, you know, 1358 01:07:39,800 --> 01:07:41,840 Speaker 4: at that point, bro, there's no there's no losing because 1359 01:07:41,880 --> 01:07:45,000 Speaker 4: all the energy is focused on that success. You know. 1360 01:07:45,760 --> 01:07:48,120 Speaker 4: So it's you know, I'm myself with everything I'm doing, 1361 01:07:48,160 --> 01:07:50,479 Speaker 4: I'm trying to multiply that, you know, myself. I'm trying 1362 01:07:50,480 --> 01:07:53,280 Speaker 4: to take what I've learned and apply that formula, you know, 1363 01:07:53,320 --> 01:07:54,880 Speaker 4: because I seen it work. I want to watch it 1364 01:07:54,960 --> 01:07:56,040 Speaker 4: work in real time, you know. 1365 01:07:56,160 --> 01:08:00,360 Speaker 5: Yeah, so what do you what do you actually in 1366 01:08:00,400 --> 01:08:03,880 Speaker 5: your in your in your in your in your seminars, 1367 01:08:03,680 --> 01:08:06,440 Speaker 5: it talks it heads what is your first piece of 1368 01:08:06,480 --> 01:08:10,760 Speaker 5: advice that you give to someone who wants to follow 1369 01:08:10,800 --> 01:08:11,640 Speaker 5: in your footsteps. 1370 01:08:11,920 --> 01:08:15,720 Speaker 4: Stop overthinking, right, you know, going back to me working, 1371 01:08:15,880 --> 01:08:18,920 Speaker 4: you know, with two tracks and stolen you know, equipment. 1372 01:08:19,240 --> 01:08:20,439 Speaker 4: I didn't know what I was doing. I even asked 1373 01:08:20,600 --> 01:08:21,880 Speaker 4: when I first met him, how do I get my 1374 01:08:21,880 --> 01:08:22,840 Speaker 4: shirt to sound like yours? 1375 01:08:23,680 --> 01:08:31,040 Speaker 1: On equipment are stolen? Plugging all? I think the statute, 1376 01:08:33,320 --> 01:08:35,040 Speaker 1: you know I heard Craig earlier. 1377 01:08:35,080 --> 01:08:39,080 Speaker 4: I felt like it. But the thing was when I asked, 1378 01:08:39,400 --> 01:08:41,120 Speaker 4: I was like, yo, like and he and he said 1379 01:08:41,120 --> 01:08:42,960 Speaker 4: something that's still stuck with me. It's like, it's not 1380 01:08:43,160 --> 01:08:45,720 Speaker 4: it's not it's it's it's not what you're working on, 1381 01:08:45,800 --> 01:08:48,679 Speaker 4: it's who's pressing the buttons, right, And And that stuck 1382 01:08:48,720 --> 01:08:51,160 Speaker 4: with me because I didn't know what I was doing 1383 01:08:51,200 --> 01:08:52,960 Speaker 4: with the equipment that I had access to, the equipment 1384 01:08:52,960 --> 01:08:56,280 Speaker 4: that I had in my possession, right, But it's it's 1385 01:08:56,400 --> 01:08:59,120 Speaker 4: just diving in and and and and and and figuring 1386 01:08:59,160 --> 01:09:01,839 Speaker 4: it out. Man. Just don't be afraid of of failure, 1387 01:09:01,840 --> 01:09:03,880 Speaker 4: because that's your biggest blessing. 1388 01:09:16,160 --> 01:09:27,080 Speaker 5: Like your style, the purposeful style, the purposeful style, Brother Ali, 1389 01:09:31,800 --> 01:09:36,040 Speaker 5: This particular sonic was not mixed by you, but I'm 1390 01:09:36,040 --> 01:09:45,639 Speaker 5: gonna do my best brother to make it sound as 1391 01:09:45,680 --> 01:09:49,000 Speaker 5: your journey as an instant replay DJ all over the world. 1392 01:09:52,720 --> 01:09:54,880 Speaker 4: I know you've heard some music. 1393 01:09:56,640 --> 01:10:01,880 Speaker 5: Of the R and B kind, the sonics that have 1394 01:10:02,000 --> 01:10:05,519 Speaker 5: inspired you to be the sonical genius you are. 1395 01:10:07,600 --> 01:10:09,879 Speaker 4: At this moment. We want to know what those songs 1396 01:10:09,920 --> 01:10:13,720 Speaker 4: are all leave. We called the shore. 1397 01:10:19,840 --> 01:10:21,880 Speaker 3: Top five. 1398 01:10:24,360 --> 01:10:26,000 Speaker 1: Your top five. 1399 01:10:28,400 --> 01:10:42,759 Speaker 3: Top five, your top five ry singers, Alay songs. We've 1400 01:10:42,800 --> 01:10:47,400 Speaker 3: got to know before you go there are they you? 1401 01:10:48,040 --> 01:10:59,280 Speaker 4: Then the whole world? Nor top yes, top. 1402 01:11:05,439 --> 01:11:09,479 Speaker 1: You, top fur. 1403 01:11:15,760 --> 01:11:23,480 Speaker 2: Yeah, yeah, yeah. 1404 01:11:22,600 --> 01:11:22,960 Speaker 3: M hm. 1405 01:11:26,439 --> 01:11:37,360 Speaker 5: I love it, mixed by Ali Your top five R 1406 01:11:37,479 --> 01:11:39,280 Speaker 5: and B singers. 1407 01:11:40,520 --> 01:11:44,439 Speaker 4: Uh again. When I came in, I was I was like, 1408 01:11:44,439 --> 01:11:47,960 Speaker 4: there's so many right, you know, been inspired by so 1409 01:11:48,000 --> 01:11:53,439 Speaker 4: many different artists, so many different generations. And I actually 1410 01:11:53,479 --> 01:11:55,120 Speaker 4: wrote a list, you know, because it was like it 1411 01:11:55,160 --> 01:11:56,880 Speaker 4: was it was you know, so I'll say top five 1412 01:11:57,040 --> 01:12:00,280 Speaker 4: R and B singers. And this goes back to like 1413 01:12:00,400 --> 01:12:02,679 Speaker 4: high school days when like I sit back and what 1414 01:12:02,800 --> 01:12:07,080 Speaker 4: most inspired me, what most like just has if I 1415 01:12:07,080 --> 01:12:09,200 Speaker 4: think about the song, I can pinpoint a moment in life. 1416 01:12:10,280 --> 01:12:12,040 Speaker 4: And this is the list I came with. It's jagged 1417 01:12:12,040 --> 01:12:28,800 Speaker 4: eggs pretty Ricky, Yeah, Beyonce, Yeah, yeah, you gotta you 1418 01:12:28,800 --> 01:12:34,160 Speaker 4: gotta throw the Queen obviously, Scissor you know, love me 1419 01:12:34,200 --> 01:12:38,960 Speaker 4: some and the last one was really hard, you know. 1420 01:12:39,439 --> 01:12:44,840 Speaker 4: Uh So, as of late as I've been like on this, 1421 01:12:44,880 --> 01:12:47,000 Speaker 4: I'm sorry, I keep going into these conversations. So I 1422 01:12:47,040 --> 01:12:50,000 Speaker 4: went into this this just journey of like reinspirational, just different. 1423 01:12:50,040 --> 01:12:55,280 Speaker 4: And I found this playlist right and Shallamar was on it. Yeah, 1424 01:12:55,400 --> 01:12:58,479 Speaker 4: and yeah, how are you I'm saying, yeah, you know 1425 01:12:59,240 --> 01:13:01,439 Speaker 4: one of my favorite that I know. It's gonna be 1426 01:13:01,439 --> 01:13:03,640 Speaker 4: played at my wedding. This is for the love and 1427 01:13:04,560 --> 01:13:07,880 Speaker 4: come on, you know what I'm saying. Uh so that 1428 01:13:07,960 --> 01:13:10,920 Speaker 4: I would say top five R and B artists even though, 1429 01:13:12,000 --> 01:13:16,439 Speaker 4: but yeah, you have three groups that right exactly. 1430 01:13:16,760 --> 01:13:18,639 Speaker 2: I want to point something out too, though, and I'm 1431 01:13:18,640 --> 01:13:20,880 Speaker 2: happy you said it because you've been a part of it. 1432 01:13:22,720 --> 01:13:26,000 Speaker 2: I had a I had a debate with someone about 1433 01:13:26,080 --> 01:13:29,880 Speaker 2: Sissy being an R and B artist and I'm like, 1434 01:13:30,120 --> 01:13:33,120 Speaker 2: what do you what do you mean? Oh, you know 1435 01:13:33,240 --> 01:13:35,400 Speaker 2: she was going for this with this, So that's an 1436 01:13:35,560 --> 01:13:38,599 Speaker 2: R and B singer at the core of. 1437 01:13:38,560 --> 01:13:41,840 Speaker 4: Her absolutely right. I mean you go back listen to 1438 01:13:41,880 --> 01:13:45,120 Speaker 4: love Galory. Yeah, you go back. You know you listen 1439 01:13:45,160 --> 01:13:47,280 Speaker 4: to all of them. Yeah, it's just nice, are you 1440 01:13:47,360 --> 01:13:47,680 Speaker 4: kidding me? 1441 01:13:48,600 --> 01:13:51,559 Speaker 2: Just a nice win And and that's just my belief. 1442 01:13:51,600 --> 01:13:53,800 Speaker 2: And even when she does records like a kill, Bill 1443 01:13:54,560 --> 01:13:55,320 Speaker 2: still an R and B. 1444 01:13:55,400 --> 01:13:58,439 Speaker 4: Artist, singer, R and B singer. You can't say one 1445 01:13:58,479 --> 01:14:00,360 Speaker 4: or two records and three four records and and not. 1446 01:14:01,200 --> 01:14:01,760 Speaker 4: You should be. 1447 01:14:01,760 --> 01:14:06,240 Speaker 5: Able to you should be able to sonically dance whatever 1448 01:14:06,280 --> 01:14:09,080 Speaker 5: the fuck you want to dance. Doesn't change the essence 1449 01:14:09,120 --> 01:14:14,960 Speaker 5: of who you are. Okay, your top five R and 1450 01:14:15,040 --> 01:14:16,559 Speaker 5: B songs? 1451 01:14:16,600 --> 01:14:19,800 Speaker 4: Again, Man, so many, so many, so many, And it's 1452 01:14:19,800 --> 01:14:21,240 Speaker 4: hard enough to be biased, you know what I'm saying. 1453 01:14:21,280 --> 01:14:23,400 Speaker 4: So you know I left you on the list on purpose, 1454 01:14:23,439 --> 01:14:29,439 Speaker 4: you know what I'm saying. All right, So look back 1455 01:14:29,479 --> 01:14:34,680 Speaker 4: to Jamie Fox The Unpredictable Album. Uh, you know, do 1456 01:14:34,760 --> 01:14:43,720 Speaker 4: what to Do Jamie Fox Project exactly. I know you're 1457 01:14:43,720 --> 01:14:51,559 Speaker 4: like that. I got frank Ocehan thinking about you, going back, 1458 01:14:51,640 --> 01:14:55,000 Speaker 4: Shallamar This is for the love venue luth never too much? 1459 01:14:55,160 --> 01:14:57,920 Speaker 4: Why not? Yeah? Why not? I'm saying it's a nice blend. 1460 01:14:58,120 --> 01:14:59,760 Speaker 4: And I'm telling like the reason why the old with 1461 01:14:59,800 --> 01:15:02,400 Speaker 4: the oh it's for one, they don't make records like them. 1462 01:15:02,439 --> 01:15:04,720 Speaker 4: The more you know and just played this I'm share 1463 01:15:04,760 --> 01:15:07,200 Speaker 4: with you. I'm talking like it's like my morning is 1464 01:15:07,240 --> 01:15:09,400 Speaker 4: what I take my daughter to school with, and like 1465 01:15:09,479 --> 01:15:13,519 Speaker 4: it's one of those it's just like the soul, the texture, 1466 01:15:13,600 --> 01:15:17,479 Speaker 4: the the different breaks, like it's just the structure of 1467 01:15:17,520 --> 01:15:20,040 Speaker 4: those of those records from like back in the you 1468 01:15:20,040 --> 01:15:22,439 Speaker 4: don't hear that no more if you don't hear those bills, 1469 01:15:22,760 --> 01:15:27,519 Speaker 4: those climaxes, right, you know. Yeah, And that's that's what 1470 01:15:27,600 --> 01:15:31,880 Speaker 4: I've been right into a lot of just three this 1471 01:15:31,960 --> 01:15:38,519 Speaker 4: is that's that's for more R and B songs. It 1472 01:15:38,680 --> 01:15:42,400 Speaker 4: was one more R and B sound, damn uh try 1473 01:15:42,479 --> 01:15:46,679 Speaker 4: the more Luther Frank Sizzl I Sizl Love Galore, Oh 1474 01:15:46,760 --> 01:15:48,639 Speaker 4: Lauren Hill do Op Hi? 1475 01:15:49,280 --> 01:15:49,519 Speaker 5: Yeah? 1476 01:15:50,000 --> 01:15:53,480 Speaker 4: Is that considered R and B to me? You'll take it. 1477 01:15:53,520 --> 01:15:58,160 Speaker 4: I'm I own every singer. We own them. They are 1478 01:15:58,360 --> 01:16:00,639 Speaker 4: a are you kidding? 1479 01:16:00,760 --> 01:16:06,599 Speaker 5: Especially R and B hours I mean hip hopkin they 1480 01:16:06,680 --> 01:16:08,640 Speaker 5: just did both may be trying to snatch people, but 1481 01:16:08,720 --> 01:16:09,839 Speaker 5: she's one of ours. 1482 01:16:10,080 --> 01:16:11,840 Speaker 4: She's you know what I'm saying, Let's go back to 1483 01:16:11,920 --> 01:16:16,519 Speaker 4: sister act. Huh tell you man, it was like it's 1484 01:16:16,520 --> 01:16:20,040 Speaker 4: again even with like like that's what I'm looking forward to, 1485 01:16:20,080 --> 01:16:22,960 Speaker 4: like in the next in the next gene of music 1486 01:16:23,360 --> 01:16:26,680 Speaker 4: is like it's going back to those going back to 1487 01:16:26,720 --> 01:16:31,200 Speaker 4: the production where there's actually like am B side breakdowns, 1488 01:16:31,240 --> 01:16:34,320 Speaker 4: there's like all these climax and build ups, there's live instruments. 1489 01:16:34,760 --> 01:16:36,880 Speaker 4: Like I think there's a big space for you know, 1490 01:16:36,920 --> 01:16:39,960 Speaker 4: those R and B acts that you know, just dive 1491 01:16:40,040 --> 01:16:42,400 Speaker 4: into like love making once again. Like you know, it's 1492 01:16:42,640 --> 01:16:44,920 Speaker 4: everything's too slutty nowadays, Like you know it needs to 1493 01:16:44,960 --> 01:16:49,160 Speaker 4: slow a little bit, you know now in a good way, 1494 01:16:49,479 --> 01:16:50,960 Speaker 4: in a good way, in a good way. But it's 1495 01:16:51,000 --> 01:16:54,160 Speaker 4: you know, it's like those those you know, you just need. 1496 01:16:54,000 --> 01:16:56,000 Speaker 2: Your mix, you just need to make it because yeah, 1497 01:16:56,000 --> 01:17:00,240 Speaker 2: it's like sexual healing was considered right slutty day. 1498 01:17:00,320 --> 01:17:02,200 Speaker 4: So I'm saying as far as like the the like 1499 01:17:02,240 --> 01:17:05,880 Speaker 4: the rap, like the slightly rap another level, that's that's 1500 01:17:05,960 --> 01:17:08,000 Speaker 4: you know, it's I'm turning that off, you know at 1501 01:17:08,000 --> 01:17:12,000 Speaker 4: the kid pick up, you know what I'm saying. But yeah, man, 1502 01:17:12,800 --> 01:17:15,280 Speaker 4: there there's there's there's a wide space for for for 1503 01:17:15,280 --> 01:17:17,880 Speaker 4: for R and B. Man, And I'm definitely anxious if 1504 01:17:17,880 --> 01:17:19,479 Speaker 4: the artists are out there, man, please reach out. You know, 1505 01:17:19,479 --> 01:17:21,479 Speaker 4: I'm in my d ms, you know, constantly looking for 1506 01:17:21,560 --> 01:17:23,600 Speaker 4: new talent to you know, collaborate with. 1507 01:17:24,760 --> 01:17:28,080 Speaker 5: You know, Okay, let's make a vultron. You're super R 1508 01:17:28,160 --> 01:17:31,320 Speaker 5: and B artists. We're gonna find an artist to get 1509 01:17:31,320 --> 01:17:35,200 Speaker 5: the vocal from the performance style, the styling of the artist, 1510 01:17:35,280 --> 01:17:38,600 Speaker 5: the passion of that artist, and who's gonna mix that 1511 01:17:38,760 --> 01:17:41,800 Speaker 5: artist project. Yeah, we got a new wrinkle to that 1512 01:17:42,920 --> 01:17:45,240 Speaker 5: one vocal to make your super R and B artist. 1513 01:17:45,880 --> 01:17:51,400 Speaker 1: Mary, you want to pass it, Mary? Yeah? 1514 01:17:51,560 --> 01:17:56,920 Speaker 4: Yeah, yeah, more trauma this artist, Right, Mary, I'll go. 1515 01:17:56,960 --> 01:17:59,320 Speaker 4: I'll go, Marry not gonna shed a tear. 1516 01:18:00,200 --> 01:18:00,639 Speaker 1: Mm hmm. 1517 01:18:02,479 --> 01:18:08,639 Speaker 4: That's a good one. Performance style Rihanna, mm hmm. Super 1518 01:18:08,640 --> 01:18:10,080 Speaker 4: bowl Rihanna, super. 1519 01:18:11,360 --> 01:18:15,439 Speaker 5: Full vibe with a baby that's one of the most fierce. 1520 01:18:17,520 --> 01:18:21,040 Speaker 5: It's very it's a very animal at I see what 1521 01:18:21,080 --> 01:18:21,599 Speaker 5: you did there. 1522 01:18:21,880 --> 01:18:31,800 Speaker 4: Yeah. Yeah, the styling like like like like physical, I'd 1523 01:18:31,880 --> 01:18:33,320 Speaker 4: have to go Rihan as well, just you know what 1524 01:18:33,320 --> 01:18:36,880 Speaker 4: I'm saying, just very upscale casual. And I'm not a 1525 01:18:36,880 --> 01:18:38,479 Speaker 4: fashion guy, you know what I'm saying. So if I 1526 01:18:38,520 --> 01:18:43,040 Speaker 4: offend you Rihanna for saying upscale casual, but very she's 1527 01:18:43,160 --> 01:18:48,720 Speaker 4: very fashionate about that. As I was just flying ain't right, 1528 01:18:50,920 --> 01:18:55,200 Speaker 4: He's right, got it? The passion of the artists, damn 1529 01:18:55,320 --> 01:18:58,439 Speaker 4: passion because Mary has passion, you know what I'm saying. 1530 01:18:58,880 --> 01:19:04,720 Speaker 4: But it feels to be Beyonce, you. 1531 01:19:04,680 --> 01:19:06,440 Speaker 1: Know, you know, very passion. 1532 01:19:13,960 --> 01:19:18,639 Speaker 5: That c beyon Yeah, yeah, yeah, yeah, you ain't saying 1533 01:19:18,640 --> 01:19:19,040 Speaker 5: nothing wrong. 1534 01:19:20,000 --> 01:19:22,200 Speaker 4: And who mixing this ship? I mean, come on, man, 1535 01:19:22,200 --> 01:19:30,160 Speaker 4: I gotta with your boy. Thanks by having sick of 1536 01:19:30,160 --> 01:19:33,160 Speaker 4: this ship, get right to it. 1537 01:19:34,439 --> 01:19:38,599 Speaker 2: We got we gotta get him, get it together again. 1538 01:19:40,200 --> 01:19:42,560 Speaker 1: And would you would you mix his pianoform? 1539 01:19:42,640 --> 01:19:46,160 Speaker 4: But absolutely with this? You can do something with this? 1540 01:19:46,240 --> 01:19:47,120 Speaker 1: Could you do something with this? 1541 01:19:50,720 --> 01:19:53,639 Speaker 3: I ain't saying no nick, I ain't saying no names, 1542 01:19:54,360 --> 01:19:55,280 Speaker 3: saying no things. 1543 01:19:55,600 --> 01:19:56,799 Speaker 4: I ain't saying no names? 1544 01:19:57,320 --> 01:20:05,840 Speaker 3: Was what you? 1545 01:20:13,560 --> 01:20:14,400 Speaker 4: Yeah? 1546 01:20:14,520 --> 01:20:17,120 Speaker 2: There, It is so very important part of the show, 1547 01:20:17,240 --> 01:20:20,800 Speaker 2: so important. Will you tell us a story funny and 1548 01:20:20,880 --> 01:20:24,559 Speaker 2: fucked up? Are funny and fucked up? But the only 1549 01:20:24,640 --> 01:20:26,599 Speaker 2: rulee to the game is you can't say no name? 1550 01:20:27,640 --> 01:20:32,559 Speaker 4: Okay, okay, I could leave hintstore right yeah, all right? 1551 01:20:32,640 --> 01:20:34,880 Speaker 4: So you know being that this is you know the 1552 01:20:35,040 --> 01:20:37,760 Speaker 4: R and B podcast. You know I was working on 1553 01:20:37,760 --> 01:20:42,720 Speaker 4: the R and B album did very well. Actually, I 1554 01:20:42,800 --> 01:20:45,960 Speaker 4: think you've all heard of it, but during this time, 1555 01:20:46,000 --> 01:20:48,040 Speaker 4: it's just funny and fucked up. It's funny, it's funny 1556 01:20:48,040 --> 01:20:50,519 Speaker 4: and like a like I like dark humor a little bit, 1557 01:20:51,640 --> 01:20:53,600 Speaker 4: but it's fucked up because it's up. So I was 1558 01:20:53,640 --> 01:20:55,160 Speaker 4: mixing this album. I was going through like one of 1559 01:20:55,160 --> 01:20:57,400 Speaker 4: the worst times in my life, like mentally, like you 1560 01:20:57,400 --> 01:21:00,880 Speaker 4: know what I'm saying, very very fucked up, and I 1561 01:21:00,920 --> 01:21:05,200 Speaker 4: was tasked with mixing this album and during that time, uh, 1562 01:21:05,560 --> 01:21:07,280 Speaker 4: what I was going through did not fucking matter, right, 1563 01:21:07,320 --> 01:21:09,800 Speaker 4: because his album was on its way and I was 1564 01:21:09,840 --> 01:21:14,439 Speaker 4: already just fucking just mentally, just beat down, and you know, 1565 01:21:14,479 --> 01:21:18,720 Speaker 4: completed this album and the artist comes in, uh, and 1566 01:21:18,760 --> 01:21:21,559 Speaker 4: this person says, I'm gonna quote the other person's name, 1567 01:21:21,640 --> 01:21:24,000 Speaker 4: not the person said it, but this person said, Hey, 1568 01:21:24,040 --> 01:21:28,160 Speaker 4: Rick Ruben hates the way the mixer sound. Mhm, right, 1569 01:21:28,680 --> 01:21:30,479 Speaker 4: I'm talking. I wanted to bang my head through a 1570 01:21:30,560 --> 01:21:35,760 Speaker 4: fucking wall, right, And I think that was one of 1571 01:21:35,800 --> 01:21:41,000 Speaker 4: the most like trying times in life because already mentally 1572 01:21:41,040 --> 01:21:44,600 Speaker 4: at one of like the most like trying places in life, 1573 01:21:44,760 --> 01:21:47,000 Speaker 4: and then having somebody who does not know what you're 1574 01:21:47,040 --> 01:21:51,439 Speaker 4: going through continue to beat you down right now, album 1575 01:21:51,479 --> 01:21:53,360 Speaker 4: did fantastic how it sounded right, you know what I'm 1576 01:21:53,360 --> 01:21:57,439 Speaker 4: saying talking one of the biggest albums I think that, 1577 01:21:57,560 --> 01:21:59,120 Speaker 4: you know, was like a funnier fuck that I'm all 1578 01:21:59,200 --> 01:22:01,240 Speaker 4: because now and look back at it. I almost went 1579 01:22:01,280 --> 01:22:03,679 Speaker 4: back and remixed it, just out of ego. I'm glad 1580 01:22:03,720 --> 01:22:06,160 Speaker 4: I didn't, right, because I don't think it would have 1581 01:22:06,360 --> 01:22:08,439 Speaker 4: you know, the effect, you know, it wouldn't have that 1582 01:22:08,479 --> 01:22:11,280 Speaker 4: same Yeah, so funny fuck them up, you know, so 1583 01:22:11,360 --> 01:22:14,240 Speaker 4: you kept it and touch it. I actually went home 1584 01:22:14,280 --> 01:22:16,200 Speaker 4: and I was like, I was able fucking you know, 1585 01:22:17,960 --> 01:22:19,400 Speaker 4: and ended up coming out and it was, you know, 1586 01:22:19,439 --> 01:22:23,679 Speaker 4: it was great funny if it was that too dark. 1587 01:22:26,600 --> 01:22:27,599 Speaker 1: Because it's very real. 1588 01:22:27,800 --> 01:22:31,879 Speaker 4: It was, Yeah, twenty seventeen, it was twenty sixteen possible. 1589 01:22:33,200 --> 01:22:34,840 Speaker 4: The best person came and knocked on the door and 1590 01:22:34,840 --> 01:22:38,760 Speaker 4: said Rick Robins hates these mixes and walked out, and 1591 01:22:38,800 --> 01:22:44,400 Speaker 4: I was like, fucking into the house. Oh good luck. 1592 01:22:45,000 --> 01:22:47,040 Speaker 1: At the time, and then it became a huge success. 1593 01:22:47,160 --> 01:22:52,360 Speaker 4: Incredible. Man. Sometimes you just gotta do you brother. 1594 01:22:52,840 --> 01:22:57,840 Speaker 1: You gotta trust your injury. Yeah yeah, you gotta choush 1595 01:22:57,880 --> 01:22:59,679 Speaker 1: you gotta chosh your engine. 1596 01:23:00,720 --> 01:23:03,800 Speaker 2: I love that that name. 1597 01:23:04,560 --> 01:23:08,840 Speaker 5: I just bro, I love everything you've done, Like as 1598 01:23:08,840 --> 01:23:11,880 Speaker 5: a creative. I mean absolutely, you're one of the best. 1599 01:23:12,720 --> 01:23:20,000 Speaker 4: Come on, and and you've and you've. 1600 01:23:18,000 --> 01:23:26,200 Speaker 5: You've mastermind ways to maximize that to where it's not 1601 01:23:26,320 --> 01:23:31,639 Speaker 5: a solo mission anymore, to where now you are united 1602 01:23:32,080 --> 01:23:39,439 Speaker 5: with like minded, like artistic beings that that share your 1603 01:23:39,560 --> 01:23:45,960 Speaker 5: energy and sharing that information and creating these platforms that 1604 01:23:46,120 --> 01:23:49,920 Speaker 5: make it cool and make it easy. It's just, bro, 1605 01:23:50,000 --> 01:23:51,720 Speaker 5: it's just it's just really. 1606 01:23:51,560 --> 01:23:54,439 Speaker 4: Really cool to thank you for that, thank you for 1607 01:23:54,479 --> 01:23:57,080 Speaker 4: that giving me a platform. Like I said, you know, 1608 01:23:58,240 --> 01:24:00,559 Speaker 4: these stories I think are meant to be heard because 1609 01:24:00,760 --> 01:24:03,320 Speaker 4: it's and I hope this one inspires at a minimum 1610 01:24:03,320 --> 01:24:06,000 Speaker 4: of one other person. Yeah yeah, And if done that, 1611 01:24:06,080 --> 01:24:07,640 Speaker 4: then I think, you know, my mission has been you 1612 01:24:07,680 --> 01:24:10,559 Speaker 4: know successful here for the day. You know, I'm big 1613 01:24:10,600 --> 01:24:12,760 Speaker 4: on giving back. I'm big on each one, teach one hm, 1614 01:24:13,040 --> 01:24:14,840 Speaker 4: you know, and you know, thank you guys for letting 1615 01:24:14,840 --> 01:24:16,600 Speaker 4: me into your home and allowing me to tell my 1616 01:24:16,640 --> 01:24:17,280 Speaker 4: story here. Man. 1617 01:24:17,320 --> 01:24:19,320 Speaker 1: Absolutely no, we want to be a part of it. 1618 01:24:19,320 --> 01:24:20,840 Speaker 2: Man, We want to be a part of We want 1619 01:24:20,840 --> 01:24:22,280 Speaker 2: to we want to funnel people through. 1620 01:24:22,680 --> 01:24:23,960 Speaker 4: And like I said, you guys mentioned you have a 1621 01:24:24,000 --> 01:24:25,559 Speaker 4: lot of artists like you know, like I said, we 1622 01:24:25,600 --> 01:24:29,360 Speaker 4: have well over fifty thousand creative studios across the globe. 1623 01:24:29,840 --> 01:24:31,880 Speaker 4: I would love to give you guys like platform credits 1624 01:24:31,880 --> 01:24:34,080 Speaker 4: to any any followers you guys have if they're looking 1625 01:24:34,080 --> 01:24:37,479 Speaker 4: at book a studio time or getting songs mixed or mastered. 1626 01:24:37,520 --> 01:24:38,760 Speaker 4: You know, yeah, they can do that. 1627 01:24:39,720 --> 01:24:42,720 Speaker 1: To give that to our people. Man, for sure you 1628 01:24:42,760 --> 01:24:43,200 Speaker 1: heard them. 1629 01:24:44,800 --> 01:24:45,479 Speaker 4: Get over there. 1630 01:24:46,120 --> 01:24:47,200 Speaker 1: We got a couple of hours for you. 1631 01:24:51,360 --> 01:24:53,639 Speaker 4: Make sure we get you asking that. So yeah, valuable. 1632 01:24:53,680 --> 01:24:57,080 Speaker 4: You can get them to great great ship. We support you, brother, 1633 01:24:58,160 --> 01:25:00,280 Speaker 4: any any anything ever we can do to help. Man, 1634 01:25:00,280 --> 01:25:05,240 Speaker 4: this is home for you. Yeah, we gotta definitely come out. 1635 01:25:05,280 --> 01:25:06,519 Speaker 1: I got to see what it looks like that. 1636 01:25:07,080 --> 01:25:09,880 Speaker 4: Man, it's not it's not too far from. 1637 01:25:12,040 --> 01:25:14,479 Speaker 5: I remember, you know what with my fondest memory of 1638 01:25:14,520 --> 01:25:18,080 Speaker 5: that studio when when I ate that edible. 1639 01:25:18,880 --> 01:25:21,000 Speaker 1: Oh that is where you thought you was gonna die. 1640 01:25:21,040 --> 01:25:25,679 Speaker 4: And ended up in the hospital. Don't be the funniest ones, bro. 1641 01:25:26,520 --> 01:25:29,639 Speaker 4: I'm on tour, bro on tour. Apps So had got 1642 01:25:29,680 --> 01:25:32,000 Speaker 4: like a box like a brownie from like a fan 1643 01:25:32,680 --> 01:25:34,240 Speaker 4: and it was a weed edible and I told him 1644 01:25:34,280 --> 01:25:36,280 Speaker 4: not to do it, but I guess like the dosage 1645 01:25:36,360 --> 01:25:39,240 Speaker 4: was wrong or whatever. He's in his bunk, crawling at 1646 01:25:39,240 --> 01:25:42,040 Speaker 4: the bunk like it's a coughin like I'm talking like 1647 01:25:42,080 --> 01:25:45,080 Speaker 4: the worst trip ever. 1648 01:25:44,880 --> 01:25:47,040 Speaker 1: No, Bro, he was cul It. 1649 01:25:47,040 --> 01:25:49,960 Speaker 4: Was his guy though, that brought it. I've never taken edible. 1650 01:25:50,040 --> 01:25:51,160 Speaker 4: It was He's your guy. 1651 01:25:51,360 --> 01:25:57,640 Speaker 5: Holistic, holistic, holistic, holistic is now man, I. 1652 01:25:57,640 --> 01:25:59,560 Speaker 4: Don't want to find that pump motherfucker. 1653 01:26:01,600 --> 01:26:04,240 Speaker 5: This guy he gave me that bad batch. 1654 01:26:04,720 --> 01:26:07,360 Speaker 4: I thought I was dying on the mission. I need 1655 01:26:07,360 --> 01:26:08,760 Speaker 4: to find his dude that was in the. 1656 01:26:08,680 --> 01:26:14,439 Speaker 7: Hospital, who got the got the homie, that biggest And 1657 01:26:14,520 --> 01:26:17,559 Speaker 7: I'm not even like, I'm not even that guy, just 1658 01:26:17,600 --> 01:26:19,880 Speaker 7: like you know, you's sitting in the cover and I'm like, 1659 01:26:24,040 --> 01:26:27,000 Speaker 7: for four days I was at Parkinson's disease. 1660 01:26:26,800 --> 01:26:30,800 Speaker 4: Like staying in your blushream. That's why I can't that man. No, no, 1661 01:26:31,040 --> 01:26:33,120 Speaker 4: a good blunt like I left the Twist. It's like 1662 01:26:33,160 --> 01:26:36,080 Speaker 4: ghetto organ. I love to sit down, you know, cut 1663 01:26:36,120 --> 01:26:37,320 Speaker 4: up the wood, you know what it is. I just 1664 01:26:37,360 --> 01:26:38,360 Speaker 4: need to stay in my lane. 1665 01:26:38,520 --> 01:26:40,080 Speaker 1: He thought it was dessert. 1666 01:26:40,240 --> 01:26:40,439 Speaker 3: Bro. 1667 01:26:40,800 --> 01:26:42,519 Speaker 4: I hated it up in the market. Heat it up. 1668 01:26:44,160 --> 01:26:48,840 Speaker 4: It needed to be needed to be. He never took 1669 01:26:48,840 --> 01:26:49,280 Speaker 4: you nowhere. 1670 01:26:49,280 --> 01:26:55,519 Speaker 1: Now stop blaming me, Bro, I just knew the guy. 1671 01:26:55,680 --> 01:26:56,360 Speaker 4: I connect the. 1672 01:26:56,320 --> 01:26:59,479 Speaker 5: Tank with the guy. So yeah, I can't wait to 1673 01:26:59,520 --> 01:27:02,640 Speaker 5: return to the scene of the crime. Oh yeah, this 1674 01:27:02,720 --> 01:27:06,160 Speaker 5: guy got me good times over there. I can't wait 1675 01:27:06,160 --> 01:27:08,120 Speaker 5: to see what you've done. Man, I think you guys 1676 01:27:08,120 --> 01:27:11,360 Speaker 5: will love it. My name is Tank Valentine and this 1677 01:27:11,400 --> 01:27:14,680 Speaker 5: is absolutely the R and B Money podcast, the authority 1678 01:27:15,439 --> 01:27:21,040 Speaker 5: on all things y R and B. First impressions are everything. 1679 01:27:21,680 --> 01:27:24,480 Speaker 5: How you sound is important. 1680 01:27:24,520 --> 01:27:29,040 Speaker 1: Get your sound right and this has been mixed by all. 1681 01:27:35,479 --> 01:27:37,280 Speaker 2: R and B Money is a production of the Black 1682 01:27:37,280 --> 01:27:42,120 Speaker 2: Effect podcast Network. For more podcasts from iHeartRadio, visit the 1683 01:27:42,200 --> 01:27:46,000 Speaker 2: iHeartRadio app, Apple Podcasts, or wherever you listen to your 1684 01:27:46,040 --> 01:27:49,920 Speaker 2: favorite shows. Don't forget to subscribe to and rate our show, 1685 01:27:50,240 --> 01:27:52,840 Speaker 2: and you can connect with us on social media at 1686 01:27:52,920 --> 01:27:57,200 Speaker 2: Jay Valentine and at the Real Tank. For the extended episode, 1687 01:27:57,280 --> 01:28:01,479 Speaker 2: subscribe to YouTube dot com, forward Slash, R and B 1688 01:28:01,600 --> 01:28:01,920 Speaker 2: Money